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-CHOIR HARMONISES -Halleluiah! | 0:00:02 | 0:00:05 | |
I am searching for Britain's most entertaining amateur | 0:00:05 | 0:00:08 | |
a cappella group. | 0:00:08 | 0:00:09 | |
Great! | 0:00:09 | 0:00:11 | |
Hundreds applied from across the UK, | 0:00:11 | 0:00:13 | |
each with their own unique sound. | 0:00:13 | 0:00:15 | |
Woo! | 0:00:15 | 0:00:16 | |
And I hand-picked eight. | 0:00:16 | 0:00:18 | |
Yes. Yes. Yes. | 0:00:18 | 0:00:21 | |
After two tense sing-offs, | 0:00:21 | 0:00:24 | |
Spinnaker Chorus... | 0:00:24 | 0:00:25 | |
# You're the best! # | 0:00:25 | 0:00:26 | |
..and Flight Of The Phoenix... | 0:00:26 | 0:00:28 | |
# Feel something so right | 0:00:28 | 0:00:30 | |
# Doing the wrong thing... # | 0:00:30 | 0:00:32 | |
..failed to make the grade. | 0:00:32 | 0:00:34 | |
I will miss them in the contest, but it wasn't to be. | 0:00:34 | 0:00:37 | |
Just six groups now remain. | 0:00:38 | 0:00:41 | |
I am bringing them all together for the first time | 0:00:41 | 0:00:43 | |
to face intensive training. | 0:00:43 | 0:00:45 | |
Welcome to a cappella school. | 0:00:45 | 0:00:48 | |
This week, it is back to basics | 0:00:48 | 0:00:50 | |
as I focus on each group's sound. | 0:00:50 | 0:00:53 | |
HE BEATBOXES | 0:00:53 | 0:00:54 | |
With help from some of the best in the business... | 0:00:54 | 0:00:57 | |
No, no, no, that is just not working. | 0:00:57 | 0:00:59 | |
..we'll test them as performers... | 0:00:59 | 0:01:01 | |
Just strip it back, sing the bloody song. | 0:01:01 | 0:01:04 | |
This is tough. | 0:01:04 | 0:01:05 | |
But something has to change. | 0:01:05 | 0:01:07 | |
'..and push them to their vocal limits...' | 0:01:07 | 0:01:10 | |
Rhythm, rhythm, rhythm, rhythm. Just get the rhythm solid. | 0:01:10 | 0:01:13 | |
..before they perform live once more | 0:01:13 | 0:01:16 | |
in front of my a cappella experts. | 0:01:16 | 0:01:17 | |
ALL: Yeah! | 0:01:17 | 0:01:18 | |
This jury's vote will decide who stays... | 0:01:18 | 0:01:21 | |
Thrilling ride. I absolutely loved what they did. | 0:01:21 | 0:01:24 | |
..and which group goes home. | 0:01:24 | 0:01:26 | |
It did feel like it was cobbled together a bit. | 0:01:26 | 0:01:29 | |
Of course it is going to be challenging | 0:01:29 | 0:01:31 | |
cos it is about getting better, it is about finding the best. | 0:01:31 | 0:01:33 | |
It is not a walk in the park. | 0:01:33 | 0:01:35 | |
This week, I am in the West Midlands, | 0:01:41 | 0:01:43 | |
where I am bringing all six surviving groups together | 0:01:43 | 0:01:46 | |
at the state-of-the-art Performance Hub. | 0:01:46 | 0:01:49 | |
It happens to have been opened by somebody very special. | 0:01:49 | 0:01:52 | |
For the next few days, this place will become home, | 0:01:54 | 0:01:57 | |
as the groups continue their battle to stay in the contest. | 0:01:57 | 0:02:01 | |
Everybody is of such a high standard | 0:02:01 | 0:02:03 | |
that we can only just keep delivering our best performances. | 0:02:03 | 0:02:05 | |
We'll see what the challenge is, then maybe the nerves will kick in. | 0:02:05 | 0:02:08 | |
We just want to be the best, so we are going to do it. | 0:02:08 | 0:02:11 | |
We are going to work twice as hard as we did, | 0:02:11 | 0:02:13 | |
and we work quite a lot. So... | 0:02:13 | 0:02:15 | |
With its dance studios, rehearsal rooms and cutting-edge | 0:02:17 | 0:02:21 | |
facilities, this is the perfect setting to push the remaining groups | 0:02:21 | 0:02:25 | |
to new heights before they compete again in the Hub's very own theatre. | 0:02:25 | 0:02:30 | |
APPLAUSE | 0:02:32 | 0:02:35 | |
Hello, hello! | 0:02:36 | 0:02:38 | |
Over the coming days, you are going to live, breathe, | 0:02:39 | 0:02:42 | |
eat a cappella as you prepare for your next big challenge. | 0:02:42 | 0:02:47 | |
In just three days, you will be singing here | 0:02:47 | 0:02:51 | |
in front of a live audience to stay in this contest. | 0:02:51 | 0:02:54 | |
THEY MURMUR | 0:02:54 | 0:02:57 | |
Three days. | 0:02:58 | 0:02:59 | |
I am not going to be making life very easy for you. | 0:03:00 | 0:03:04 | |
You will once again be singing a song of my choosing, | 0:03:04 | 0:03:07 | |
but this time, it will be a song | 0:03:07 | 0:03:10 | |
that will tackle your weaknesses. | 0:03:10 | 0:03:14 | |
OHS | 0:03:14 | 0:03:17 | |
A couple of you look utterly dismayed. | 0:03:17 | 0:03:19 | |
LAUGHTER | 0:03:19 | 0:03:21 | |
I would like you to go off to your individual classrooms, | 0:03:21 | 0:03:24 | |
where you will find out what songs you are going to be singing. | 0:03:24 | 0:03:26 | |
Best of luck. | 0:03:26 | 0:03:28 | |
See you very soon. Off you go. | 0:03:28 | 0:03:29 | |
What's this? "Read me." | 0:03:35 | 0:03:37 | |
Each of the groups has an Achilles heel | 0:03:37 | 0:03:39 | |
in terms of their sound. | 0:03:39 | 0:03:41 | |
THEY TALK AT ONCE | 0:03:41 | 0:03:43 | |
The only way they will improve is | 0:03:43 | 0:03:45 | |
if they tackle these weaknesses head-on. | 0:03:45 | 0:03:48 | |
-A tape, wow, that is old. -Old school. | 0:03:48 | 0:03:51 | |
Popping their tape in the deck first are Stratford East Singers, | 0:03:51 | 0:03:54 | |
a community choir from London. | 0:03:54 | 0:03:56 | |
-I think it might be something slow. -I think it'll be something fast. | 0:03:56 | 0:03:59 | |
Most choirs recruit to fill set roles like tenor, alto or base. | 0:03:59 | 0:04:03 | |
But because anyone can join this group, | 0:04:03 | 0:04:07 | |
they don't have this ideal mix of voices. | 0:04:07 | 0:04:10 | |
# If you change your mind... # | 0:04:10 | 0:04:11 | |
-Oh! -ABBA! -Excellent. | 0:04:11 | 0:04:14 | |
# Honey, I'm still free | 0:04:14 | 0:04:16 | |
# Take a chance on me. # | 0:04:16 | 0:04:18 | |
ABBA'S Take A Chance On Me cleverly | 0:04:18 | 0:04:21 | |
balances the male and female vocals. | 0:04:21 | 0:04:24 | |
It will force Stratford East Singers to think about how | 0:04:24 | 0:04:27 | |
they balance the roles within their group. | 0:04:27 | 0:04:29 | |
We've got our work cut out. | 0:04:29 | 0:04:31 | |
-We're going to make ABBA cool. -THEY LAUGH | 0:04:31 | 0:04:34 | |
How do we take an anthem | 0:04:36 | 0:04:37 | |
and make it completely Stratford East Singers? | 0:04:37 | 0:04:39 | |
I guess that's the challenge I've got now. | 0:04:39 | 0:04:41 | |
-Does it go in that way? -THEY LAUGH | 0:04:41 | 0:04:44 | |
-No, I want to do it. -Don't touch. | 0:04:44 | 0:04:46 | |
Just get it in! | 0:04:46 | 0:04:48 | |
Here we go! | 0:04:48 | 0:04:49 | |
Shhh! | 0:04:49 | 0:04:51 | |
One, two, three, four. | 0:04:51 | 0:04:53 | |
Glasgow University group Choral Stimulation | 0:04:53 | 0:04:56 | |
came up with a fun | 0:04:56 | 0:04:58 | |
but fussy arrangement in their first heat. | 0:04:58 | 0:05:00 | |
The challenge I have set for them | 0:05:00 | 0:05:02 | |
is to deliver something that relies on simplicity and sincerity. | 0:05:02 | 0:05:07 | |
# It's been seven hours and 16 days... # | 0:05:09 | 0:05:14 | |
Nice! | 0:05:14 | 0:05:16 | |
We can do this. | 0:05:16 | 0:05:17 | |
Sinead O'Connor's iconic take on Nothing Compares To You will | 0:05:17 | 0:05:21 | |
push this group to pare things back and sing with emotion. | 0:05:21 | 0:05:24 | |
# I go out every night... # | 0:05:24 | 0:05:27 | |
The beauty of the song is that it is just one stripped back, | 0:05:27 | 0:05:31 | |
beautiful melody. | 0:05:31 | 0:05:32 | |
But we are not used to doing that, are we? | 0:05:32 | 0:05:34 | |
Right. | 0:05:34 | 0:05:36 | |
-Ready? -Yeah. | 0:05:36 | 0:05:37 | |
"Congratulations, Restless Symphony, | 0:05:37 | 0:05:39 | |
"and welcome to this next stage of the contest." | 0:05:39 | 0:05:42 | |
I have also given a ballad to the other student group | 0:05:42 | 0:05:45 | |
in the contest - Restless Symphony. | 0:05:45 | 0:05:47 | |
But their challenge is different. | 0:05:47 | 0:05:49 | |
-THEY LAUGH -Get that in! | 0:05:49 | 0:05:52 | |
MUSIC: China In Your Hand by T'Pau | 0:05:53 | 0:05:54 | |
-Ahh! -Oh, my God! | 0:05:54 | 0:05:56 | |
This group have struggled with confidence and blending harmonies. | 0:05:56 | 0:06:00 | |
# Don't push too far | 0:06:00 | 0:06:02 | |
# Your dreams are china in your hands. # | 0:06:02 | 0:06:06 | |
T'Pau's rock classic China In Your Hand | 0:06:07 | 0:06:11 | |
requires real conviction | 0:06:11 | 0:06:13 | |
and vocal unison. | 0:06:13 | 0:06:14 | |
# You don't know... # | 0:06:14 | 0:06:16 | |
We have to practise, and we have to start now! | 0:06:16 | 0:06:18 | |
We've got three days! | 0:06:18 | 0:06:19 | |
There is a message here for us, guys. | 0:06:22 | 0:06:24 | |
"Dear YesterYear..." | 0:06:24 | 0:06:25 | |
Going up against the youngsters are the grandads of the contest - | 0:06:25 | 0:06:29 | |
YesterYear. | 0:06:29 | 0:06:30 | |
"The key thing that I and the jury felt you needed to improve | 0:06:30 | 0:06:34 | |
"was your ability to master rhythm and tempo. | 0:06:34 | 0:06:37 | |
"For your next challenge, I have selected an up-tempo, modern song. | 0:06:37 | 0:06:42 | |
"Lots of love, Gareth." | 0:06:42 | 0:06:44 | |
# I stay out too late | 0:06:47 | 0:06:49 | |
# Got nothing in my brain | 0:06:49 | 0:06:52 | |
# That's what people say. # | 0:06:52 | 0:06:54 | |
Does anybody know it? | 0:06:54 | 0:06:55 | |
-Yes. -No, never heard of it. | 0:06:55 | 0:06:57 | |
Shake It Off, by Taylor Swift, has a strong pulse | 0:06:57 | 0:07:00 | |
and tempo that will directly address this group's weak spot. | 0:07:00 | 0:07:04 | |
-This isn't really our song, is it? -No. -It can't possibly be! | 0:07:04 | 0:07:06 | |
# Shake, shake | 0:07:06 | 0:07:09 | |
# Yeah! # | 0:07:09 | 0:07:10 | |
Oh, OK! | 0:07:10 | 0:07:11 | |
Stop! Stop! | 0:07:11 | 0:07:13 | |
How long has this been on? | 0:07:13 | 0:07:15 | |
This isn't just outside the comfort zone, | 0:07:15 | 0:07:19 | |
it's outside the country! | 0:07:19 | 0:07:21 | |
THEY LAUGH | 0:07:21 | 0:07:22 | |
# Blue moon | 0:07:22 | 0:07:25 | |
# Now I'm no longer alone... # | 0:07:25 | 0:07:27 | |
81-year-old Len is this East Midland's group oldest member. | 0:07:27 | 0:07:32 | |
He no longer sings but is ever present as YesterYear's compere. | 0:07:32 | 0:07:36 | |
I love entertaining. | 0:07:36 | 0:07:38 | |
And I used to be an instructor at the police training centre. | 0:07:38 | 0:07:41 | |
I used to tell jokes in the classroom. | 0:07:41 | 0:07:44 | |
I love to see people with smiles on their face | 0:07:44 | 0:07:48 | |
and I love the applause that these guys get at the end of an evening. | 0:07:48 | 0:07:52 | |
-Hello, gentlemen. -ALL: Hello. | 0:07:52 | 0:07:55 | |
Hello! | 0:07:55 | 0:07:57 | |
Don't kill me, Martin. | 0:07:57 | 0:07:59 | |
So, I take it you love it(!) | 0:07:59 | 0:08:00 | |
Never heard such crap in all my life! | 0:08:00 | 0:08:02 | |
LAUGHTER | 0:08:02 | 0:08:04 | |
Don't pull any punches, tell me what you really think. | 0:08:04 | 0:08:07 | |
This could really work to your advantage in this contest. | 0:08:07 | 0:08:10 | |
You've got an opportunity to do something no-one is expecting here. | 0:08:10 | 0:08:13 | |
You're bloody right! | 0:08:13 | 0:08:15 | |
There are spoken words in this. There is a rap. | 0:08:15 | 0:08:18 | |
There may be a role for you. | 0:08:18 | 0:08:20 | |
And, listen, I'm not saying send it up, but there is an | 0:08:20 | 0:08:23 | |
opportunity here to do something surprising and wonderful. | 0:08:23 | 0:08:26 | |
Remember this, Gareth, if it all goes pear-shaped, | 0:08:26 | 0:08:29 | |
-it is your fault! -OK, thank you. -LAUGHTER | 0:08:29 | 0:08:31 | |
I will. | 0:08:31 | 0:08:33 | |
Birmingham's six piece The Sons Of Pitches | 0:08:34 | 0:08:37 | |
have an intricate and quirky pop sound. | 0:08:37 | 0:08:40 | |
-OK. -Let's see what it is. | 0:08:40 | 0:08:42 | |
I want to challenge them to produce something simpler | 0:08:42 | 0:08:45 | |
and richer that can move an audience. | 0:08:45 | 0:08:48 | |
# Just you know why... # | 0:08:48 | 0:08:53 | |
Anyone? | 0:08:53 | 0:08:54 | |
# Why you and I... # | 0:08:54 | 0:08:57 | |
THEY LAUGH | 0:08:57 | 0:08:59 | |
The smooth sounds of Buddy Holly's True Love Ways needs slick | 0:08:59 | 0:09:03 | |
but simple harmonies | 0:09:03 | 0:09:05 | |
plus heartfelt delivery. | 0:09:05 | 0:09:07 | |
# True love ways... # | 0:09:07 | 0:09:11 | |
'I will like it?' | 0:09:11 | 0:09:13 | |
No, I won't like it, there is nothing to like. | 0:09:13 | 0:09:15 | |
To make what I can of it. | 0:09:15 | 0:09:17 | |
# Sometimes we'll cry... # | 0:09:17 | 0:09:22 | |
Last up, Gospel Essence, | 0:09:22 | 0:09:24 | |
a group with a soulful sound that I feel lacks one vital ingredient. | 0:09:24 | 0:09:29 | |
"Hello, Gospel Essence. You have some fantastic voices in your group. | 0:09:29 | 0:09:33 | |
"What I feel you need to concentrate on is bringing energy | 0:09:33 | 0:09:35 | |
"and pace to each and every performance." | 0:09:35 | 0:09:38 | |
MUSIC: Theme From S-Express by S'Express | 0:09:38 | 0:09:42 | |
-It's S-Express! -Stop that! | 0:09:44 | 0:09:46 | |
Ooooh! | 0:09:46 | 0:09:48 | |
Dance classic the Theme From S'Express | 0:09:48 | 0:09:51 | |
is inescapably up-tempo and energetic. | 0:09:51 | 0:09:54 | |
# The hots for you Bo, bo-bo-bo | 0:09:54 | 0:09:55 | |
# Ba-ba-bah... # | 0:09:55 | 0:09:57 | |
THEY LAUGH | 0:09:57 | 0:09:59 | |
# Bo-bo-bo... # | 0:09:59 | 0:10:00 | |
-It's just noise! -It's a club track. -I know what it is. | 0:10:00 | 0:10:03 | |
But we have to take it and make it our own, don't we? | 0:10:03 | 0:10:06 | |
Hello! Hello. | 0:10:09 | 0:10:12 | |
Oh, dear, I am seeing some pretty gloomy faces. | 0:10:13 | 0:10:16 | |
You have given up standing! | 0:10:16 | 0:10:18 | |
There is a way through this | 0:10:18 | 0:10:19 | |
that gets you to the place you need to be. | 0:10:19 | 0:10:21 | |
Sparky, energetic, fun. | 0:10:21 | 0:10:24 | |
-Yeah, I think we are just a bit stunned right now. -Yeah. | 0:10:24 | 0:10:27 | |
Square up to it. Best of British. | 0:10:27 | 0:10:29 | |
Thank you. See you later. | 0:10:29 | 0:10:31 | |
Woo! | 0:10:31 | 0:10:32 | |
I hate the song. It is just noise | 0:10:32 | 0:10:34 | |
and you're going to have to really try and replicate '80s' synth. | 0:10:34 | 0:10:38 | |
I just... You know. | 0:10:38 | 0:10:39 | |
I don't know. | 0:10:39 | 0:10:40 | |
Lessons will start first thing tomorrow. | 0:10:44 | 0:10:47 | |
-All right. -The rooms are all right, guys. | 0:10:47 | 0:10:49 | |
Tonight, as well as settling into their new digs, the groups must | 0:10:49 | 0:10:53 | |
start work on their arrangements, all set for class in the morning. | 0:10:53 | 0:10:58 | |
The groups that go through will be groups that square up to this | 0:10:58 | 0:11:01 | |
challenge. Things that are difficult, we shy away from. | 0:11:01 | 0:11:04 | |
But it is through doing them that we learn. | 0:11:04 | 0:11:06 | |
It is going to be tough. | 0:11:06 | 0:11:08 | |
This is a cappella school, it is not a walk in the park. | 0:11:08 | 0:11:11 | |
Day one of lessons. | 0:11:18 | 0:11:20 | |
Tony's breakfast. And a coffee to wake him up. | 0:11:23 | 0:11:26 | |
And we left him with a four pack of beers... | 0:11:26 | 0:11:28 | |
THEY LAUGH | 0:11:28 | 0:11:29 | |
We did a bit of avoidance therapy last night, yeah. Start fresh today. | 0:11:29 | 0:11:34 | |
While the groups enjoy breakfast, their mentors arrive. | 0:11:34 | 0:11:39 | |
I have enlisted the help of four specialists, | 0:11:39 | 0:11:41 | |
including top-class vocal coaches and a world champion beatboxer. | 0:11:41 | 0:11:46 | |
These four will help me push the groups to improve their sound | 0:11:47 | 0:11:51 | |
and attain the standard of vocal excellence I am looking for. | 0:11:51 | 0:11:54 | |
THEY HARMONISE | 0:11:58 | 0:12:00 | |
Kick starting classes, university group Choral Stimulation. | 0:12:00 | 0:12:04 | |
Their first task is to appoint a soloist. | 0:12:06 | 0:12:09 | |
On hand to help, Leontine Hass, | 0:12:10 | 0:12:12 | |
a graduate of the Royal Academy of Music | 0:12:12 | 0:12:14 | |
and coach to the UK's leading vocal harmony groups. | 0:12:14 | 0:12:18 | |
# Nothing compares | 0:12:18 | 0:12:21 | |
# To you. # | 0:12:21 | 0:12:26 | |
-Who are the contenders? Which of you...? -Me and Caitlin and Hannah. | 0:12:26 | 0:12:30 | |
I can tell you what I think. | 0:12:30 | 0:12:31 | |
What it is about, it is not just about your voices, | 0:12:31 | 0:12:34 | |
what I want to see is that you can connect up. | 0:12:34 | 0:12:36 | |
Come on, have a go. | 0:12:36 | 0:12:38 | |
Pick one of your best friends. | 0:12:38 | 0:12:40 | |
Great. | 0:12:40 | 0:12:42 | |
And don't start singing before you have connected. | 0:12:42 | 0:12:45 | |
-OK. -Yeah. | 0:12:45 | 0:12:46 | |
# It's been seven hours and 15 days | 0:12:50 | 0:12:57 | |
# Since you took your love away. # | 0:12:57 | 0:13:01 | |
I want you to try to dare | 0:13:03 | 0:13:05 | |
to show your feelings rather than hide them. | 0:13:05 | 0:13:09 | |
We're actually finding that quite hard. | 0:13:10 | 0:13:12 | |
Who is next? | 0:13:12 | 0:13:13 | |
# It's been seven hours and 16 days | 0:13:17 | 0:13:24 | |
# Since you took your love away | 0:13:25 | 0:13:28 | |
# I go out every night and sleep all day | 0:13:31 | 0:13:36 | |
# Since you took your love... # | 0:13:39 | 0:13:41 | |
You're making me cry now. | 0:13:43 | 0:13:44 | |
Well done. | 0:13:44 | 0:13:45 | |
Good. Right, OK. I think it would be good if you gave it a shot. | 0:13:45 | 0:13:49 | |
-Yeah? -Yeah. | 0:13:49 | 0:13:51 | |
# I can eat my dinner in a fancy restaurant. # | 0:13:51 | 0:13:55 | |
Newly appointed soloist Caitlin is the baby of the group. | 0:13:55 | 0:13:59 | |
At 19, her university career is just starting, | 0:13:59 | 0:14:03 | |
unlike some of her friends in the choir, who are about to graduate. | 0:14:03 | 0:14:08 | |
How are you feeling about it? Because you were quite emotional. | 0:14:08 | 0:14:11 | |
When I do sing it, | 0:14:11 | 0:14:12 | |
when I get upset... | 0:14:12 | 0:14:14 | |
..I am thinking about everyone else in the group. | 0:14:16 | 0:14:18 | |
This year, there are a lot of people leaving. And the music just... | 0:14:18 | 0:14:22 | |
creates such a strong bond that you don't really want to break | 0:14:22 | 0:14:25 | |
that, you know? | 0:14:25 | 0:14:26 | |
It's because I know that we can't do it forever. | 0:14:26 | 0:14:28 | |
You are being very generous because you are letting us in. | 0:14:31 | 0:14:34 | |
Great performance is about being in the moment. | 0:14:34 | 0:14:37 | |
You are mature enough to handle it and you have the power to | 0:14:37 | 0:14:42 | |
just rein it back in if you feel yourself losing it. | 0:14:42 | 0:14:45 | |
Yeah. | 0:14:45 | 0:14:46 | |
Another group I have challenged to work on bringing emotion | 0:14:52 | 0:14:55 | |
to their performance is all-male six piece The Sons Of Pitches. | 0:14:55 | 0:14:59 | |
They have put lives and careers on hold to | 0:15:02 | 0:15:04 | |
follow their dream of making it big as an a cappella group. | 0:15:04 | 0:15:08 | |
Got to speed up there. | 0:15:08 | 0:15:09 | |
Sons Of Pitches means everything to me. | 0:15:09 | 0:15:11 | |
If we can make it into something where we could live off of it, | 0:15:11 | 0:15:13 | |
it would just be the best thing. | 0:15:13 | 0:15:15 | |
We have just become sort of really good mates. | 0:15:15 | 0:15:17 | |
We just have a good time together. | 0:15:17 | 0:15:19 | |
-Just good friends. -Yeah, yeah. | 0:15:19 | 0:15:20 | |
-Hello. -ALL: Hey! | 0:15:20 | 0:15:22 | |
The group have selected 24-year-old Jamie to take the lead | 0:15:22 | 0:15:26 | |
in Buddy Holly's True Love Ways. | 0:15:26 | 0:15:28 | |
-Shall we just go straight in? -Straight in, yeah. -Fantastic. | 0:15:28 | 0:15:31 | |
# Just you know why... # | 0:15:31 | 0:15:37 | |
The solo is a crucial role that carries the song's emotional weight. | 0:15:37 | 0:15:42 | |
# Know true love ways. # | 0:15:44 | 0:15:50 | |
I did not feel serenaded by that. | 0:15:50 | 0:15:52 | |
It is a love song, right? And I need more of the emotion. | 0:15:52 | 0:15:57 | |
Have you got a...partner? | 0:15:57 | 0:15:59 | |
Um. This is not the moment or the time. | 0:16:01 | 0:16:04 | |
It needs to be someone. | 0:16:04 | 0:16:05 | |
Hello! The Sons Of Pitches, how are you? | 0:16:09 | 0:16:11 | |
I'm looking forward to hearing it. Is it there? Are you done? | 0:16:11 | 0:16:14 | |
-Getting there. -Very close. | 0:16:14 | 0:16:16 | |
This was all about heart for me. | 0:16:16 | 0:16:18 | |
This is going to make it more about us boys singing together, | 0:16:18 | 0:16:22 | |
just them and us. | 0:16:22 | 0:16:23 | |
-The crew. -That sort of thing. -It is man love. -It's man love. | 0:16:23 | 0:16:27 | |
But I'll raise you romantic love because it is a caress, this song. | 0:16:27 | 0:16:30 | |
-It is a... -HE BREATHES IN DEEPLY | 0:16:30 | 0:16:32 | |
We have got a sticking point. | 0:16:32 | 0:16:34 | |
-We have a sticking point? -We have a sticking point. | 0:16:34 | 0:16:36 | |
What is the sticking point? | 0:16:36 | 0:16:37 | |
Various relationship things. | 0:16:37 | 0:16:39 | |
You are having relationship issues? | 0:16:39 | 0:16:42 | |
Can we have a quick chat? | 0:16:42 | 0:16:44 | |
Cool, um... | 0:16:44 | 0:16:46 | |
What has happened? | 0:16:46 | 0:16:48 | |
-Just recently come to the end of a relationship. -OK. | 0:16:48 | 0:16:52 | |
-Which makes this very painful. -Yeah. | 0:16:52 | 0:16:55 | |
It's not...it's not ideal. | 0:16:55 | 0:16:56 | |
-OK. -It's all right. | 0:16:56 | 0:16:57 | |
-You are not a heart on the sleeve type? -That's probably fair. | 0:16:57 | 0:17:00 | |
Yeah, OK. You know, if you are going to be a singer, | 0:17:00 | 0:17:03 | |
you have got to be able to do these sorts of things. | 0:17:03 | 0:17:06 | |
It is just opening the door to a really sincere performance | 0:17:06 | 0:17:10 | |
-that comes from a real place. -Yeah. | 0:17:10 | 0:17:13 | |
It's really hard. Can we agree that you are going to try? | 0:17:13 | 0:17:16 | |
I'll give it a go. | 0:17:16 | 0:17:17 | |
If I was having this conversation with my 23, 24-year-old self... | 0:17:21 | 0:17:24 | |
..I don't know if I... Could I have done it? | 0:17:26 | 0:17:28 | |
Maybe. | 0:17:28 | 0:17:30 | |
But I know that unless Jamie gets his head round this, maybe not | 0:17:30 | 0:17:34 | |
today, maybe not even in this round, but at some point, | 0:17:34 | 0:17:36 | |
this is what Sons Of Pitches have to tackle. | 0:17:36 | 0:17:39 | |
They have got to be more open. They have got to be less clever | 0:17:39 | 0:17:42 | |
and much more honest in their singing. | 0:17:42 | 0:17:45 | |
We are quite a tight group but not necessarily, | 0:17:45 | 0:17:47 | |
like, sharing of emotions tight. | 0:17:47 | 0:17:50 | |
So, yeah, standing in a room, talking about love, it is | 0:17:50 | 0:17:53 | |
an interesting step. | 0:17:53 | 0:17:55 | |
Love and emotion is a massive aspect of life, even if it is a bit corny. | 0:17:55 | 0:17:59 | |
-We should really ultimately talk about it. -Yeah, and music. | 0:17:59 | 0:18:02 | |
-And music. -We can't be musicians and ignore the fact that probably | 0:18:02 | 0:18:05 | |
about well over half of songs are about love. | 0:18:05 | 0:18:07 | |
Mid-morning and a tea break gives the groups a brief | 0:18:10 | 0:18:13 | |
respite from the classroom. | 0:18:13 | 0:18:14 | |
-How are you getting on? -Oh, yeah, well... Getting. | 0:18:14 | 0:18:18 | |
It's getting better all the time, you know? | 0:18:18 | 0:18:21 | |
Today, the groups must nail their arrangements | 0:18:21 | 0:18:24 | |
and allot parts to avoid falling behind | 0:18:24 | 0:18:27 | |
and jeopardising their place in the contest. | 0:18:27 | 0:18:30 | |
# I stay out too late. # | 0:18:32 | 0:18:34 | |
Limbering up ahead of their lesson, | 0:18:35 | 0:18:37 | |
traditional barbershop group YesterYear. | 0:18:37 | 0:18:40 | |
It is growing on me, let's put it that way. | 0:18:41 | 0:18:44 | |
# Go on too many dates | 0:18:44 | 0:18:46 | |
# I can't make him stay. # | 0:18:46 | 0:18:48 | |
They are awaiting the arrival of mentor | 0:18:48 | 0:18:51 | |
and world-renowned beatboxer Ball-Zee. | 0:18:51 | 0:18:54 | |
# Shake, shake. # | 0:18:54 | 0:18:55 | |
How are you doing? | 0:18:55 | 0:18:56 | |
I'm Patrick, AKA Ball-Zee. | 0:18:56 | 0:18:59 | |
I am the three-time UK beatbox champion. | 0:18:59 | 0:19:01 | |
Just got crowned world team champion with the UK. | 0:19:01 | 0:19:03 | |
Thank you, guys, thank you. | 0:19:03 | 0:19:05 | |
Let's just do a really quick beatbox warm-up. | 0:19:05 | 0:19:09 | |
# Whoosh | 0:19:09 | 0:19:11 | |
# Boom, wah-wah-wah | 0:19:11 | 0:19:13 | |
# Boom-boom, click-click Beep-beep | 0:19:13 | 0:19:15 | |
# Boom, tic-tic-tic-tic Ba-chi, ba-da-bip | 0:19:15 | 0:19:18 | |
# Bip-bip-bip-bip, boom | 0:19:18 | 0:19:19 | |
# Tic-tic-tic-tic, ba-da-ba-dsh Ba-da-ba-dsh, ba-da-boom | 0:19:19 | 0:19:22 | |
# Ba-da-ba-dsh | 0:19:22 | 0:19:23 | |
# Ba-dic, ba-dic, ba-dic Boom | 0:19:23 | 0:19:25 | |
# Honk! # | 0:19:25 | 0:19:26 | |
THEY LAUGH AND CLAP | 0:19:26 | 0:19:29 | |
What I'm going to do is hopefully get you guys more | 0:19:29 | 0:19:32 | |
gelled as a unit with the timing and the rhythm. | 0:19:32 | 0:19:34 | |
Give you guys that pulse, hopefully. So we're going to start with... | 0:19:34 | 0:19:38 | |
Pfff... | 0:19:38 | 0:19:40 | |
ALL: Pfff... | 0:19:40 | 0:19:43 | |
ALL: Bzzzzz... Pfff... | 0:19:43 | 0:19:46 | |
Erm... In fact, do you guys want to show me what you've got so far? | 0:19:47 | 0:19:50 | |
# Bom-chi, bom-bom... # | 0:19:50 | 0:19:53 | |
Beatboxing is an important part of modern a cappella. | 0:19:53 | 0:19:57 | |
Providing the solid rhythm and tempo that YesterYear need. | 0:19:57 | 0:20:01 | |
# Bom-chi-bom That's what people say... # | 0:20:01 | 0:20:04 | |
It's not a skill the group have tried before, | 0:20:04 | 0:20:06 | |
but assistant head teacher Sam is rising to the challenge. | 0:20:06 | 0:20:10 | |
Nice. If you could just take the kick and the snare, so... | 0:20:10 | 0:20:13 | |
# Bom-chi, bom-chi... # | 0:20:13 | 0:20:15 | |
And then maybe do some shakers. | 0:20:15 | 0:20:18 | |
THEY BEATBOX | 0:20:18 | 0:20:21 | |
# Chi-chi-chi-chi. # | 0:20:21 | 0:20:24 | |
We've got four different versions here. | 0:20:24 | 0:20:26 | |
All sorts of different things happening. | 0:20:26 | 0:20:27 | |
One, two, three and four. | 0:20:27 | 0:20:30 | |
# Bom, bom-bom, bom-bom. # | 0:20:30 | 0:20:33 | |
Yeah, that's rushing. One, two, three, four. | 0:20:33 | 0:20:36 | |
This is the bloody rhythm, OK? | 0:20:36 | 0:20:38 | |
And it ain't going to change the whole song. | 0:20:38 | 0:20:41 | |
Rhythm, rhythm, rhythm, rhythm. Just get the rhythm solid. | 0:20:41 | 0:20:44 | |
It's so simple. | 0:20:44 | 0:20:47 | |
I don't understand. | 0:20:47 | 0:20:48 | |
I really don't understand how they can be so good at | 0:20:48 | 0:20:51 | |
so many aspects of music and yet fail to just do something | 0:20:51 | 0:20:54 | |
so basic as just stay in time. | 0:20:54 | 0:20:57 | |
# Bom-chi, bom-bom... | 0:20:57 | 0:21:00 | |
# My ex-girlfriend bought her mum a new... # | 0:21:00 | 0:21:02 | |
Keeping time is more crucial than ever for this performance | 0:21:02 | 0:21:06 | |
as it will act as a cue for Len. | 0:21:06 | 0:21:08 | |
For the first time, | 0:21:08 | 0:21:10 | |
he's doing more than just comparing by taking on Taylor Swift's rap. | 0:21:10 | 0:21:14 | |
Len, are you nervous about getting it on time? | 0:21:14 | 0:21:17 | |
-Yeah. -Why don't we take a bit of that nerves away? | 0:21:17 | 0:21:20 | |
Can you just say, "My ex-girlfriend da-da-da-da?" | 0:21:20 | 0:21:23 | |
Do a Len on it. | 0:21:23 | 0:21:24 | |
Make it Len. One, two, three, four. | 0:21:24 | 0:21:28 | |
THEY BEATBOX | 0:21:28 | 0:21:31 | |
# My ex girl brought her new man home | 0:21:31 | 0:21:33 | |
# He's like oh, my God but I'm just gonna shake | 0:21:33 | 0:21:37 | |
# Until the gal over there with the hella good hair | 0:21:37 | 0:21:40 | |
# Won't you come on over, baby? We can shake, shake, shake. # | 0:21:40 | 0:21:44 | |
And, of course, now you do perfectly. Yeah. That's great. | 0:21:44 | 0:21:47 | |
That's perfect. | 0:21:47 | 0:21:48 | |
It's fun. But can they actually pull it off? | 0:21:48 | 0:21:50 | |
I mean, I really, really have a big question | 0:21:50 | 0:21:53 | |
about whether they can do it. | 0:21:53 | 0:21:55 | |
This has stretched our versatility and stretched, more importantly, | 0:21:55 | 0:22:01 | |
our imagination. | 0:22:01 | 0:22:03 | |
And we tend to like it now. | 0:22:03 | 0:22:06 | |
Still learning to love the track I chose for them, Gospel Essence. | 0:22:09 | 0:22:13 | |
Musical director Rebecca started this group five years ago | 0:22:15 | 0:22:18 | |
with siblings Paulina and Louis and has steadily drafted in | 0:22:18 | 0:22:22 | |
more members, including mum-of-one Michelle. | 0:22:22 | 0:22:26 | |
This is how I want the rest of my life to be. | 0:22:26 | 0:22:28 | |
I want music. I want it to be music, whatever way I can make it. | 0:22:28 | 0:22:31 | |
And I suppose if somebody is only 21 or 22, this is like, | 0:22:31 | 0:22:34 | |
well, this is a great experience. | 0:22:34 | 0:22:36 | |
But to me, in a way, this is it. | 0:22:36 | 0:22:38 | |
THEY DO VOCAL WARM-UPS | 0:22:38 | 0:22:40 | |
You all right? | 0:22:40 | 0:22:41 | |
Checking on Gospel Essence's progress is former | 0:22:41 | 0:22:44 | |
Brit school tutor and award-winning choir director Mark De-Lisser. | 0:22:44 | 0:22:48 | |
I would love to hear what you guys have done with it so far. | 0:22:48 | 0:22:51 | |
Have you done it? | 0:22:51 | 0:22:52 | |
Erm, in terms of actually arranging parts for people to seeing, | 0:22:52 | 0:22:55 | |
-we haven't got that far just yet. -OK. | 0:22:55 | 0:22:58 | |
-How long have you had the song for? -12 hours. -12 hours. | 0:22:59 | 0:23:03 | |
And you've done nothing? | 0:23:03 | 0:23:05 | |
OK. | 0:23:05 | 0:23:08 | |
How do we get into this right now? As quickly as we possibly can. | 0:23:08 | 0:23:11 | |
One, two, three, and... | 0:23:14 | 0:23:16 | |
# Dun-nu-nu-nu-nu, dun-nu-nu-nu-nu. # | 0:23:16 | 0:23:19 | |
-It's... -Dun-nu-nu-nu-nu. | 0:23:19 | 0:23:21 | |
Dun-nu-nu-nu-nu. Eh. | 0:23:21 | 0:23:23 | |
-Should we get up and do it? -Yeah. -Let's get up and give it... | 0:23:23 | 0:23:27 | |
-Rebecca, quickly, let me just have a quick word. -Sure. | 0:23:27 | 0:23:29 | |
Give me a second, guys. | 0:23:29 | 0:23:31 | |
# Dugga-dugga-da, dugga-dugga-da. # | 0:23:32 | 0:23:34 | |
You have to take leadership in this. Like, 100%, yeah? | 0:23:34 | 0:23:38 | |
And it is now for you to go and listen to that arrangement and say, | 0:23:38 | 0:23:42 | |
"Right you are singing this. Dubba-dubba-da Dubba-dubba-da. | 0:23:42 | 0:23:45 | |
"You're seeing this. Dubba-dubba-da." | 0:23:45 | 0:23:47 | |
This has got to take time. | 0:23:47 | 0:23:48 | |
All right? And we ain't got time, OK? | 0:23:48 | 0:23:51 | |
# Dugga-dugga-da, dugga-dugga-da. # | 0:23:51 | 0:23:52 | |
It's not cleaning up. Try and take it up. | 0:23:52 | 0:23:54 | |
Going out because you've done your best is one thing, but going out | 0:23:54 | 0:23:57 | |
because you've kind of let everyone down is not what, you know, I don't | 0:23:57 | 0:24:00 | |
want that responsibility and it's not what I, you know, we signed up for. | 0:24:00 | 0:24:04 | |
But there's no time to even process it. We just got to get on with it. | 0:24:04 | 0:24:07 | |
THEY BEATBOX AND SING | 0:24:12 | 0:24:16 | |
Mentor Mark's next visit is to community choir | 0:24:16 | 0:24:19 | |
Stratford East Singers. | 0:24:19 | 0:24:21 | |
Their open-door policy makes them an inclusive bunch | 0:24:21 | 0:24:25 | |
but it also affects their precision. | 0:24:25 | 0:24:27 | |
All right. Just do your uu-ahs for me, all right? | 0:24:27 | 0:24:29 | |
Here we go, one, two, three and... | 0:24:29 | 0:24:31 | |
# Uu-ah, uu-ah, uu-ah... # | 0:24:31 | 0:24:33 | |
I've briefed Mark to help unify their sound. | 0:24:33 | 0:24:36 | |
OK, cool. | 0:24:36 | 0:24:38 | |
The harmony isn't sitting and gelling well together | 0:24:38 | 0:24:40 | |
but we can get it better, all right? | 0:24:40 | 0:24:42 | |
Hello. | 0:24:42 | 0:24:44 | |
ALL: Hi! | 0:24:44 | 0:24:45 | |
-Hi, hi, hi. Are you liking the song? Is it coming? -Yeah. | 0:24:45 | 0:24:48 | |
Well, let me just hear it. | 0:24:48 | 0:24:50 | |
# If you change your mind I'm the first in line | 0:24:50 | 0:24:54 | |
# Honey, I'm still free Take a chance on me | 0:24:54 | 0:24:58 | |
# If you need me, let me know Gonna be around | 0:24:58 | 0:25:02 | |
# If you've got no place to go if you're feeling down. # | 0:25:02 | 0:25:06 | |
Good, I'm in, I'm in. I really enjoyed that. | 0:25:06 | 0:25:09 | |
You have, I think, made something very cheesy a little bit cooler. | 0:25:09 | 0:25:12 | |
THEY CHEER | 0:25:12 | 0:25:15 | |
Yeah. But now it's tightening these nuts and bolts. | 0:25:15 | 0:25:17 | |
And make sure it's absolutely in tune. | 0:25:17 | 0:25:20 | |
I'll leave you in Mark's capable hands | 0:25:20 | 0:25:22 | |
and you'll just make that happen. | 0:25:22 | 0:25:23 | |
-OK. -All right, see you later. Good. Good job. Well done. Thank you. | 0:25:23 | 0:25:26 | |
I've got a sense of excitement about this. | 0:25:26 | 0:25:28 | |
They've gone from this big, overblown sort of community | 0:25:28 | 0:25:32 | |
choir sound, which is lovely, but inexact. | 0:25:32 | 0:25:35 | |
And they're actually starting to work like an a cappella group. | 0:25:35 | 0:25:38 | |
# It was a theme she had On a scheme he had | 0:25:39 | 0:25:43 | |
# Told in a foreign land... # | 0:25:43 | 0:25:45 | |
'As day one of lessons nears its end, | 0:25:48 | 0:25:50 | |
'I'm checking in on Southampton students Restless Symphony.' | 0:25:50 | 0:25:54 | |
THEY SING | 0:25:54 | 0:25:56 | |
They're talented solo performers who | 0:25:56 | 0:25:58 | |
I want to push to work better as a unit. | 0:25:58 | 0:26:02 | |
THEY SING OUT OF TUNE | 0:26:02 | 0:26:06 | |
Don't hold to high! | 0:26:07 | 0:26:09 | |
THEY LAUGH | 0:26:09 | 0:26:11 | |
-Have you not done that bit? -Nope. -No, I'm going! | 0:26:11 | 0:26:14 | |
OK, couple of bits of it were like dental surgery towards the end. | 0:26:15 | 0:26:20 | |
And also, it's complicated. | 0:26:20 | 0:26:22 | |
-HE SINGS: -Ah, ah, ah. | 0:26:22 | 0:26:24 | |
I can see you going, "What's my note?" | 0:26:24 | 0:26:27 | |
If at the end of today, you are still going, | 0:26:27 | 0:26:29 | |
"Ah, ah, ah. How does it go?" | 0:26:29 | 0:26:31 | |
Think about making the radical decisions today. | 0:26:31 | 0:26:33 | |
This is just a bit hard, I can't do it. | 0:26:33 | 0:26:36 | |
What I really want to see from Restless Symphony | 0:26:36 | 0:26:38 | |
is a unified sound with a fantastic soloist. | 0:26:38 | 0:26:41 | |
And they're trying, | 0:26:41 | 0:26:42 | |
but they're trying it on really complicated material. | 0:26:42 | 0:26:45 | |
We've got kind of a little bit carried away, I think. | 0:26:45 | 0:26:48 | |
It is early days, but when you've only got three days, | 0:26:48 | 0:26:51 | |
early days is irrelevant, really. | 0:26:51 | 0:26:54 | |
School's out as the first day of lessons concludes. | 0:26:56 | 0:26:59 | |
It's halfway and I feel like some of the groups are on their way | 0:26:59 | 0:27:03 | |
and some of the groups really aren't. | 0:27:03 | 0:27:05 | |
All of these songs have turned out to be much more challenging | 0:27:06 | 0:27:09 | |
than anyone thought. | 0:27:09 | 0:27:11 | |
There's a lot of work to be done tomorrow. | 0:27:11 | 0:27:12 | |
# Ba-da-ba-ba... # | 0:27:14 | 0:27:17 | |
For Gospel Essence, the hard work can't wait until tomorrow. | 0:27:17 | 0:27:21 | |
They are hunkering down to make up for lost time. | 0:27:21 | 0:27:23 | |
# ..listen to me, baby, ooh! # | 0:27:23 | 0:27:25 | |
We just have to be relentless with it. | 0:27:25 | 0:27:28 | |
I can hear they're not in the right key. It's annoying me, but... | 0:27:28 | 0:27:31 | |
Erm, it's... Oh, it's annoying me. | 0:27:31 | 0:27:34 | |
-Can you do a couple? -If we come in on each third | 0:27:34 | 0:27:36 | |
-then we'll always be overlapping. -Each third? | 0:27:36 | 0:27:38 | |
I do want people to have a sleep but I want the song to be | 0:27:38 | 0:27:41 | |
finished more than I want people to sleep, so... | 0:27:41 | 0:27:43 | |
We just have to get...work faster. | 0:27:43 | 0:27:46 | |
# Ba-da-ba-ba... # | 0:27:46 | 0:27:48 | |
Gospel Essence, like all my groups, now have little more | 0:27:48 | 0:27:51 | |
than 24 hours to get on track or risk leaving the contest for good. | 0:27:51 | 0:27:56 | |
KNOCKING | 0:28:00 | 0:28:02 | |
Boys, come on. Come on. | 0:28:02 | 0:28:04 | |
How are you doing? | 0:28:07 | 0:28:09 | |
-Day two. -Hi, girls. | 0:28:09 | 0:28:11 | |
Just one more day of mentoring before the groups face | 0:28:11 | 0:28:14 | |
a live audience | 0:28:14 | 0:28:16 | |
and the all-important jury. | 0:28:16 | 0:28:18 | |
These seven experts have been selected from a range | 0:28:20 | 0:28:22 | |
of disciplines including beatboxing, performance coaching | 0:28:22 | 0:28:26 | |
and crucially this week, vocal training. | 0:28:26 | 0:28:30 | |
Perfect blend is like the Holy Grail of choral singing. | 0:28:30 | 0:28:33 | |
To get all of your singers singing the right notes with the right | 0:28:33 | 0:28:37 | |
vowel sounds and the right tone, when it happens, it's fantastic. | 0:28:37 | 0:28:42 | |
Leading lights from the worlds of gospel, university, | 0:28:42 | 0:28:46 | |
barbershop and pop a cappella complete the jury. | 0:28:46 | 0:28:49 | |
Tomorrow, they'll all have their say on who stays | 0:28:50 | 0:28:53 | |
and which group goes home. | 0:28:53 | 0:28:54 | |
Keen to show the jury they've improved their sound, | 0:29:02 | 0:29:05 | |
Southampton students Restless Symphony | 0:29:05 | 0:29:07 | |
are getting in some practice before class. | 0:29:07 | 0:29:10 | |
Yesterday, I tasked them with simplifying their arrangements. | 0:29:11 | 0:29:15 | |
Good morning! How are you? | 0:29:16 | 0:29:19 | |
-Hopeful. -Hopeful. -Yes. -Good. -Feeling hopeful. | 0:29:19 | 0:29:22 | |
Feeling hopeful. | 0:29:22 | 0:29:24 | |
I think it's my duty, as headmaster of a cappella school, is to make | 0:29:24 | 0:29:27 | |
sure you've just got something that works from beginning to end. | 0:29:27 | 0:29:30 | |
# Don't push too far your dreams | 0:29:30 | 0:29:32 | |
# Are china in your hand | 0:29:32 | 0:29:36 | |
-# Don't wish too hard... # -That. | 0:29:36 | 0:29:38 | |
It's a bit clever. | 0:29:38 | 0:29:40 | |
Let me stop you. Let me stop you. | 0:29:40 | 0:29:42 | |
It makes me, rather than going, "Da-da-da-da," | 0:29:42 | 0:29:45 | |
sing-along in my head, I go, | 0:29:45 | 0:29:47 | |
"What? What are you doing?" | 0:29:47 | 0:29:48 | |
Just because you can do something doesn't mean you should. | 0:29:48 | 0:29:51 | |
Jurassic Park. | 0:29:51 | 0:29:53 | |
They've gone away on worked on it | 0:29:53 | 0:29:55 | |
and they have something that is functional. | 0:29:55 | 0:29:57 | |
They still need to put a bit of magic in it. | 0:29:57 | 0:29:59 | |
It needs tinsel, but, you know, the Christmas tree is standing. | 0:29:59 | 0:30:03 | |
# Baa ba-ba-ba-ba... # | 0:30:07 | 0:30:09 | |
Slow starters Gospel Essence have barely slept. | 0:30:09 | 0:30:13 | |
But they finally have something to show mentor Mark. | 0:30:13 | 0:30:17 | |
Erm... | 0:30:17 | 0:30:19 | |
Just stopped, but it sounded better. | 0:30:19 | 0:30:21 | |
I'm just not getting the energy. | 0:30:21 | 0:30:24 | |
Either you want this or you don't. | 0:30:24 | 0:30:27 | |
You now have to come out of yourselves and absolutely deliver. | 0:30:28 | 0:30:32 | |
Let's go from top. | 0:30:33 | 0:30:35 | |
Dr Mark will make it all right. | 0:30:36 | 0:30:38 | |
# Ba-da-ba-ba, ba-da-da... # | 0:30:39 | 0:30:42 | |
Really strong, come on! | 0:30:42 | 0:30:43 | |
In a bold move, the group have decided to incorporate animal | 0:30:43 | 0:30:47 | |
sounds into their arrangement. | 0:30:47 | 0:30:49 | |
THEY MAKE ANIMAL NOISES | 0:30:49 | 0:30:51 | |
All right, all right, all right, all right. | 0:30:51 | 0:30:53 | |
This jungle thing... I get it. But commit to it. | 0:30:53 | 0:30:57 | |
What's your sound? | 0:30:57 | 0:30:58 | |
# Kun-tuka-tun, kun-tuka-tun. # | 0:30:58 | 0:31:00 | |
# Kun-tuka-tun, kun-tuka-tun! # Do it. | 0:31:00 | 0:31:03 | |
# Kun-tuka-tun, kun-tuka-tun! # | 0:31:03 | 0:31:04 | |
-Oh, God! -THEY LAUGH | 0:31:07 | 0:31:09 | |
Let me see, let me see. Oh, my God. I've drawn blood! | 0:31:10 | 0:31:13 | |
Can we get the medic, please? | 0:31:13 | 0:31:15 | |
I drew blood. | 0:31:16 | 0:31:18 | |
Go up to the second floor immediately, please. | 0:31:18 | 0:31:22 | |
What we need to do is pop you up to the hospital. | 0:31:22 | 0:31:24 | |
Yeah, that looks like a hospital job. | 0:31:24 | 0:31:27 | |
SHE WAILS | 0:31:27 | 0:31:29 | |
Keep both eyes closed. | 0:31:29 | 0:31:30 | |
SHE CRIES | 0:31:32 | 0:31:35 | |
What we managed to is get our energy levels up, | 0:31:35 | 0:31:37 | |
we get them to a place they need to be, and then something happens. | 0:31:37 | 0:31:40 | |
-Michelle, Michelle! -I just don't know. | 0:31:40 | 0:31:42 | |
I just don't know if we're going to have what we need | 0:31:42 | 0:31:44 | |
to deliver tomorrow. | 0:31:44 | 0:31:45 | |
And now we've assaulted one of the mentors, so... | 0:31:48 | 0:31:52 | |
It's not going great. | 0:31:52 | 0:31:53 | |
SHE LAUGHS | 0:31:53 | 0:31:55 | |
# If you change your If you change your | 0:31:57 | 0:31:59 | |
# If you ch-ch-ch-ch... # | 0:31:59 | 0:32:01 | |
So far unscathed by his mentoring experience, | 0:32:01 | 0:32:04 | |
Dominic Peckham is fine-tuning the Stratford East Singers. | 0:32:04 | 0:32:07 | |
He's drawing on his experience as a patron of The Voice Festival, | 0:32:09 | 0:32:12 | |
the UK's biggest a cappella organisation. | 0:32:12 | 0:32:15 | |
The execution of the consonants is too slow. I'm hearing, | 0:32:17 | 0:32:20 | |
"Take a... One second. ..chance." | 0:32:20 | 0:32:22 | |
I want, "Take a chance. Take a chance. Take a chance." | 0:32:22 | 0:32:26 | |
-One, two, three, go. -ALL: Take a chance! | 0:32:26 | 0:32:29 | |
# Take a chance Take a chika-chance-chance | 0:32:29 | 0:32:31 | |
# Take a chance Take a chika-chance-chance | 0:32:31 | 0:32:34 | |
# Take a chance. # | 0:32:34 | 0:32:36 | |
That is so much better. Ticket prices just went up to £27.50. | 0:32:36 | 0:32:40 | |
Rival groups Choral Stimulation... | 0:32:46 | 0:32:49 | |
# And I can eat my dinner in a fancy restaurant. # | 0:32:49 | 0:32:55 | |
And The Sons Of Pitches... | 0:32:55 | 0:32:57 | |
# Sometimes we all... # | 0:32:57 | 0:32:59 | |
..are both grappling with how to bring emotion to a performance. | 0:32:59 | 0:33:03 | |
# Sometimes we all cry. # | 0:33:03 | 0:33:08 | |
# It's been so lonely without you here | 0:33:08 | 0:33:13 | |
# Like a bird without a song | 0:33:16 | 0:33:20 | |
# Ahhhh. # | 0:33:20 | 0:33:24 | |
For me, that was quite a powerful moment cos all of a sudden | 0:33:24 | 0:33:26 | |
you were like, boom, straight out. And it was like, "Whoa." | 0:33:26 | 0:33:30 | |
High praise for Choral Stimulation. | 0:33:30 | 0:33:32 | |
But The Sons Of Pitches haven't had the same breakthrough. | 0:33:33 | 0:33:37 | |
This is very flat. Jamie looks like he's reading a shopping list. | 0:33:37 | 0:33:40 | |
This is a love song. | 0:33:41 | 0:33:43 | |
They have to love it and they have to show they love somebody else. | 0:33:43 | 0:33:47 | |
It's going to be the difference between them doing well | 0:33:48 | 0:33:51 | |
in this contest and them really just falling at the first hurdle. | 0:33:51 | 0:33:54 | |
Across the hall... | 0:33:56 | 0:33:57 | |
One, two, three, four. | 0:33:57 | 0:33:59 | |
# Bam, bam-bam, bam, bam, bam-bam | 0:33:59 | 0:34:01 | |
# I stay out too late. # | 0:34:01 | 0:34:03 | |
YesterYear have made a daring bid to improve the rhythm and tempo | 0:34:03 | 0:34:08 | |
in their moves as well as their melodies. | 0:34:08 | 0:34:10 | |
# I'm just gonna shake shake, shake, shake, shake | 0:34:10 | 0:34:13 | |
# Shake it off. Shake it off | 0:34:13 | 0:34:15 | |
-# Never miss a beat -Bop bop-bop, bop-bop, bop-bop | 0:34:15 | 0:34:18 | |
-# I'm lightening on my feet -Bop, bop-bop, bop-bop, bop-bop | 0:34:18 | 0:34:21 | |
-# And that's what they don't see -Bop, bop-bop, bop-bop, bop-bop. # | 0:34:21 | 0:34:25 | |
-Shake it off! -ALL: Yeah! | 0:34:25 | 0:34:27 | |
Oh, yes! | 0:34:27 | 0:34:29 | |
I'm not laughing at you. I'm really not. I'm laughing at you. | 0:34:29 | 0:34:33 | |
Your commitment to it is wonderful. | 0:34:33 | 0:34:35 | |
It is not the best technical singing I've ever heard. But it's a show. | 0:34:35 | 0:34:39 | |
It's what you do so well. | 0:34:39 | 0:34:41 | |
I want to be an old guy like that, I want to be up there on stage | 0:34:41 | 0:34:44 | |
when I'm 75. | 0:34:44 | 0:34:46 | |
I find it moving that they're all mates together, they're all trying. | 0:34:46 | 0:34:50 | |
It's kind of hopeless but it is really wonderful. | 0:34:50 | 0:34:54 | |
Decidedly not having as much fun as YesterYear are Gospel Essence. | 0:34:55 | 0:35:00 | |
The group's slow progress only got slower | 0:35:00 | 0:35:03 | |
when Michelle injured mentor Mark with an ill-judged high-five. | 0:35:03 | 0:35:07 | |
-I've got some news about Mark. -He's OK? | 0:35:07 | 0:35:10 | |
He's totally fine. | 0:35:10 | 0:35:11 | |
-Yay! -Oh, my God. -In fact, he's out there. | 0:35:11 | 0:35:15 | |
ALL: Yay! | 0:35:15 | 0:35:17 | |
-Hello. -ALL: Hi. | 0:35:17 | 0:35:20 | |
Come here, come here. | 0:35:20 | 0:35:21 | |
Absolutely fine. It looks worse than it is. | 0:35:22 | 0:35:24 | |
-It just looks worse than it is. -Yeah, yeah, don't worry. | 0:35:24 | 0:35:27 | |
I'm never high-fiving anybody ever... It's all low-fives. | 0:35:27 | 0:35:31 | |
It's all low-fives, all low-fives. All right? | 0:35:31 | 0:35:34 | |
I'm so sorry. | 0:35:34 | 0:35:35 | |
-Can we call this incident done? -THEY LAUGH | 0:35:35 | 0:35:38 | |
And don't let it affect your performance. | 0:35:38 | 0:35:40 | |
ALL: Yeah. | 0:35:40 | 0:35:42 | |
Mark might be back but time's up for mentoring. | 0:35:42 | 0:35:47 | |
Classes are over and everything now hinges on tomorrow's performances. | 0:35:47 | 0:35:52 | |
Big day tomorrow because somebody's going. | 0:35:52 | 0:35:56 | |
I wish Restless Symphony's arrangement | 0:35:56 | 0:35:59 | |
were a little bit better. | 0:35:59 | 0:36:01 | |
They're just about getting there but it's a bit late. | 0:36:01 | 0:36:05 | |
Sons Of Pitches. | 0:36:05 | 0:36:07 | |
If your group has a weakness then this contest will weed it out. | 0:36:07 | 0:36:11 | |
Gospel Essence are in the most trouble. | 0:36:11 | 0:36:13 | |
# Sha-bap-ba-ba, ba-ra-ba-ba-ba. # | 0:36:13 | 0:36:15 | |
They didn't get far enough quickly enough. Now they're way behind. | 0:36:15 | 0:36:19 | |
But you never know what's going to happen in front of the audience. | 0:36:19 | 0:36:22 | |
With show day looming, the groups use these final few hours | 0:36:22 | 0:36:26 | |
to cram in last-minute practice. | 0:36:26 | 0:36:27 | |
# Take a chance Take a ch-ch-chance | 0:36:27 | 0:36:29 | |
# Take a chance. # | 0:36:29 | 0:36:30 | |
All except YesterYear, who've decided to escape for a taste | 0:36:30 | 0:36:35 | |
of their traditional remedy for pre-performance nerves. | 0:36:35 | 0:36:38 | |
It don't affect me. I do it while I'm in a trance. | 0:36:38 | 0:36:41 | |
Which is permanent. | 0:36:42 | 0:36:43 | |
If we deliver our game and the performance we've done today | 0:36:45 | 0:36:47 | |
we will do very well. | 0:36:47 | 0:36:49 | |
And if it's not good enough, we will go home | 0:36:49 | 0:36:51 | |
and we'll get on with the rest of our lives. | 0:36:51 | 0:36:54 | |
However short that might be. | 0:36:54 | 0:36:55 | |
Performance day. | 0:37:04 | 0:37:05 | |
Time to find out if the groups' hard work these past few days | 0:37:07 | 0:37:10 | |
will pay off. | 0:37:10 | 0:37:12 | |
We want this to be perfect. | 0:37:12 | 0:37:14 | |
And we want to show everybody our magic. | 0:37:14 | 0:37:16 | |
I'm tingling and I just want to go out and do it. | 0:37:16 | 0:37:20 | |
A cappella school has been utterly brilliant. | 0:37:21 | 0:37:23 | |
I can't believe how much all these groups have developed. | 0:37:23 | 0:37:26 | |
They've taken this challenge on the chin and gone for it. | 0:37:26 | 0:37:30 | |
And every single group has improved. | 0:37:30 | 0:37:32 | |
It's just a question now of who's improved enough to stay in. | 0:37:32 | 0:37:35 | |
Personally, I'm nervous but that's not a bad thing, is it? | 0:37:36 | 0:37:40 | |
Game faces on. | 0:37:40 | 0:37:42 | |
The Hub's Theatre will soon be filled with friends, | 0:37:50 | 0:37:53 | |
family and members of the public. | 0:37:53 | 0:37:55 | |
And while the groups want to please this audience, | 0:37:56 | 0:37:59 | |
it's the jury they really need to impress. | 0:37:59 | 0:38:02 | |
As ever, they want to be entertained | 0:38:03 | 0:38:06 | |
but this week they'll zero in on how the groups have improved vocally, | 0:38:06 | 0:38:10 | |
listening for impressive solos, beatboxing and blend. | 0:38:10 | 0:38:14 | |
The precision of their singing is crucial. | 0:38:14 | 0:38:17 | |
It's being precise with their word sounds, | 0:38:17 | 0:38:19 | |
their intonation and the diction | 0:38:19 | 0:38:21 | |
as well as any kind of chord structures in harmonies | 0:38:21 | 0:38:23 | |
that they've built-up. | 0:38:23 | 0:38:24 | |
Vocals might be in the spotlight but the jury will still want to see | 0:38:24 | 0:38:28 | |
stage presence, audience engagement and strong choreography. | 0:38:28 | 0:38:32 | |
When I'm judging an a cappella performance, | 0:38:32 | 0:38:35 | |
the first thing I'm looking for, actually, | 0:38:35 | 0:38:37 | |
is does the whole thing make sense? | 0:38:37 | 0:38:39 | |
Does the sound match up with the visual | 0:38:39 | 0:38:42 | |
and the style that they're going for? | 0:38:42 | 0:38:43 | |
With the jury in place, the show can begin. | 0:38:48 | 0:38:51 | |
-Are you excited? -Yeah. | 0:38:51 | 0:38:53 | |
-We just want to do it now. -We just want to do it. | 0:38:53 | 0:38:55 | |
And relax. | 0:38:55 | 0:38:57 | |
-This is a trip. -Enjoy this trip. | 0:39:03 | 0:39:06 | |
APPLAUSE | 0:39:10 | 0:39:12 | |
Hello, thank you very much. | 0:39:13 | 0:39:15 | |
Shall we get the ball rolling then | 0:39:17 | 0:39:19 | |
with the first of our six a cappella groups? | 0:39:19 | 0:39:21 | |
Welcome The Sons Of Pitches. | 0:39:21 | 0:39:24 | |
# Just you know why | 0:39:36 | 0:39:38 | |
# Ooh-ooh-ooh | 0:39:38 | 0:39:42 | |
-# Why you and I -Ooh-ooh-ooh | 0:39:42 | 0:39:49 | |
-# Will by and by -Ooh-ooh-ooh | 0:39:49 | 0:39:56 | |
-# Know true love ways -Ooh-ooh-ooh | 0:39:56 | 0:40:03 | |
# Sometimes we'll sigh | 0:40:03 | 0:40:06 | |
# Ooh-ooh-ooh | 0:40:06 | 0:40:09 | |
-# Sometimes we'll cry -Ooh-ooh-ooh | 0:40:09 | 0:40:12 | |
# Ooh-ooh-ooh | 0:40:12 | 0:40:16 | |
-# And we'll know why -Ooh-ooh-ooh | 0:40:16 | 0:40:18 | |
-# Just you and I -Ooh-ooh-ooh | 0:40:18 | 0:40:22 | |
-# Know true love's way -Ooh-ooh-ooh | 0:40:22 | 0:40:27 | |
-# Sta-doo-doo-doo, da-doo-day -Mmm-mmm-mmm | 0:40:27 | 0:40:30 | |
# Da-doo-doo-day, doo-doo-doo-doo | 0:40:30 | 0:40:33 | |
-# Ya-doo-doo-doo-doo-da-day -Mmm-mmm-mmm | 0:40:33 | 0:40:36 | |
-# Da-day-ya-ya -Mmm-mmm-mmm | 0:40:36 | 0:40:38 | |
# Ah-da, ba-da, ca-da, da-da | 0:40:39 | 0:40:42 | |
# Ah-da, fa-da, ga-da, ha-da | 0:40:42 | 0:40:45 | |
# Ooh-ooh-ah-ooh-ooh | 0:40:45 | 0:40:47 | |
# Throughout the days | 0:40:47 | 0:40:50 | |
# Throughout the days | 0:40:50 | 0:40:53 | |
# Our true love ways | 0:40:53 | 0:40:55 | |
# Ways | 0:40:55 | 0:40:57 | |
# Will bring us joys to share | 0:40:57 | 0:41:02 | |
# With those who really care | 0:41:02 | 0:41:08 | |
# Sometimes we sigh | 0:41:08 | 0:41:11 | |
# Ahh-ahh-ahh | 0:41:11 | 0:41:13 | |
-# Sometimes we cry -Ahh-ahh-ahh | 0:41:13 | 0:41:18 | |
-# And we'll know why -Ahh-ahh-ahh | 0:41:18 | 0:41:20 | |
-# Just you and I -Ahh-ahh-ahh | 0:41:20 | 0:41:23 | |
-# Know true love ways -Ahh-ahh-ahh | 0:41:23 | 0:41:26 | |
# Know true love ways | 0:41:26 | 0:41:28 | |
# Know true love ways | 0:41:28 | 0:41:30 | |
# Know true love ways | 0:41:30 | 0:41:32 | |
# Know true love | 0:41:32 | 0:41:34 | |
-# Ways -Know true love ways | 0:41:34 | 0:41:39 | |
# Know true love ways. # | 0:41:39 | 0:41:47 | |
LOUD APPLAUSE AND CHEERING | 0:41:47 | 0:41:49 | |
There was a slight lack of energy and fear in that | 0:41:49 | 0:41:51 | |
that I've not seen in them before, but still good. | 0:41:51 | 0:41:55 | |
Next up, the Stratford East Singers. | 0:41:57 | 0:41:59 | |
# Take a chance, take a chance Take a chicca-chan-chance | 0:42:03 | 0:42:05 | |
# Take a chance, take a chance Take a chicca-chan-chance | 0:42:05 | 0:42:08 | |
# Take a chance, take a chance | 0:42:08 | 0:42:09 | |
# Take a chicca-chan-chance Take a chance | 0:42:09 | 0:42:11 | |
# If you change your mind I'm the first in line | 0:42:11 | 0:42:14 | |
# Honey, I'm still free | 0:42:14 | 0:42:16 | |
# Take a chance on me | 0:42:16 | 0:42:18 | |
# If you need me, let me know Gonna be around | 0:42:18 | 0:42:22 | |
# If you've got no place to go if you're feeling down | 0:42:22 | 0:42:25 | |
# Take a chance, take a chance Take a chicca-chan-chance | 0:42:25 | 0:42:28 | |
# Take a chance on me | 0:42:28 | 0:42:30 | |
# Whoa-oh | 0:42:30 | 0:42:31 | |
# We can go dancing, we can go walking, as long as we're together | 0:42:31 | 0:42:38 | |
# Wah-wah-wah | 0:42:38 | 0:42:39 | |
# Listen to some music, maybe just talking, get to know you better | 0:42:39 | 0:42:45 | |
-# Wah-wah-wah -Better | 0:42:45 | 0:42:47 | |
# You know I got | 0:42:47 | 0:42:48 | |
# So much that I wanna do when I dream I'm alone with you | 0:42:48 | 0:42:52 | |
# It's magic | 0:42:52 | 0:42:54 | |
# It's magic | 0:42:54 | 0:42:56 | |
# You say you wanna leave me there afraid of a love affair | 0:42:56 | 0:43:00 | |
# But I think you know | 0:43:00 | 0:43:02 | |
# Ooh-ooh | 0:43:02 | 0:43:03 | |
# That I can't let go | 0:43:03 | 0:43:05 | |
# Doo! | 0:43:05 | 0:43:07 | |
# If you change your if you change your | 0:43:07 | 0:43:09 | |
# If you change your if you change-change-change-change | 0:43:09 | 0:43:12 | |
# Doo! | 0:43:12 | 0:43:13 | |
# If you change your mind I'm the first in line | 0:43:13 | 0:43:17 | |
# Honey, I'm still free Take a chance on me | 0:43:17 | 0:43:21 | |
# If you need me, let me know Gonna be around | 0:43:21 | 0:43:25 | |
# If you've got no place to go if you're feeling down | 0:43:25 | 0:43:28 | |
# Come on! Yeah! | 0:43:28 | 0:43:30 | |
-# Bam-bam-bam-bam -Ahh | 0:43:30 | 0:43:32 | |
-# Bam-bam-bam-bam -Ahh | 0:43:32 | 0:43:34 | |
-# Bam-bam-bam-bam -Ahh | 0:43:34 | 0:43:36 | |
-# Bam-bam-bam-bam -# Ahh | 0:43:36 | 0:43:37 | |
# Ahh. # | 0:43:37 | 0:43:40 | |
APPLAUSE | 0:43:40 | 0:43:43 | |
Not perfect, bit of a shaky start there, but they pulled it off. | 0:43:43 | 0:43:45 | |
Bringing a unique brand of old-school charm | 0:43:48 | 0:43:51 | |
to a modern pop masterpiece, | 0:43:51 | 0:43:54 | |
please welcome YesterYear! | 0:43:54 | 0:43:57 | |
APPLAUSE | 0:43:57 | 0:43:59 | |
One, two, three, four! | 0:44:04 | 0:44:05 | |
# Ba, ba-ba, ba, ba, ba-ba | 0:44:05 | 0:44:08 | |
-# I stay out too late -Ba, ba-ba, ba, ba, ba-ba | 0:44:08 | 0:44:11 | |
-# Got nothing in my brain -Ba, ba-ba, ba, ba, ba-ba | 0:44:11 | 0:44:13 | |
# But that's what people say Ooh-ooh | 0:44:13 | 0:44:17 | |
-# That's what people say, ooh-ooh -Ba, ba-ba, ba, ba, ba-ba | 0:44:17 | 0:44:20 | |
-# I go on too many dates -Ba, ba-ba, ba, ba, ba-ba | 0:44:20 | 0:44:23 | |
-# But I can't make them stay -Ba, ba-ba, ba, ba, ba-ba | 0:44:23 | 0:44:26 | |
# And that's what people say | 0:44:26 | 0:44:28 | |
-# Ooh-ooh -Ba, ba-ba, ba, ba, ba-ba | 0:44:28 | 0:44:30 | |
-# That's what people say, ooh-ooh -Ba, ba-ba, ba, ba, ba-ba | 0:44:30 | 0:44:33 | |
-# I never miss a beat -Ba, ba-ba, ba, ba, ba-ba | 0:44:33 | 0:44:36 | |
-# I'm lightning on my feet -Ba, ba-ba, ba, ba, ba-ba | 0:44:36 | 0:44:40 | |
# But that's just what they see Ooh-ooh | 0:44:40 | 0:44:43 | |
-# That's just what see, ooh-ooh -Ba, ba-ba, ba, ba, ba-ba | 0:44:43 | 0:44:46 | |
-# I'm dancing on my own -Ba, ba-ba, ba, ba, ba-ba | 0:44:46 | 0:44:50 | |
-# Make the moves up as I go -Ba, ba-ba, ba, ba, ba-ba | 0:44:50 | 0:44:53 | |
# But that's what they don't know Ooh-ooh | 0:44:53 | 0:44:55 | |
-WHISPERS: -They liked it. | 0:44:55 | 0:44:57 | |
# That's what they don't know Ooh-ooh | 0:44:57 | 0:44:59 | |
One, two, three, four! | 0:44:59 | 0:45:01 | |
# My ex-girlfriend brought her home last night | 0:45:01 | 0:45:04 | |
# Oh, my God! | 0:45:04 | 0:45:06 | |
# Her up there with the head of blonde hair | 0:45:07 | 0:45:10 | |
# Come down, pretty girl, and let's | 0:45:10 | 0:45:12 | |
-# Shake, shake, shake -Shake, shake, shake | 0:45:12 | 0:45:14 | |
One, two, three! | 0:45:14 | 0:45:15 | |
# Cos the players gonna play play, play, play, play | 0:45:15 | 0:45:18 | |
# And the haters gonna hate hate, hate, hate, hate | 0:45:18 | 0:45:21 | |
# Baby, I'm just gonna shake, shake shake, shake, shake | 0:45:21 | 0:45:25 | |
# I shake it off, I shake it off. # | 0:45:25 | 0:45:27 | |
-Shake it off! -Yeah! | 0:45:27 | 0:45:31 | |
Oh, there were some really, really dodgy moments in that, | 0:45:31 | 0:45:33 | |
but I think overall it felt like the audience really liked it. | 0:45:33 | 0:45:36 | |
There were lots of smiles. | 0:45:36 | 0:45:38 | |
Not sure if it was the best they've ever done it though. | 0:45:38 | 0:45:40 | |
I feel that I've let these guys down a little bit. | 0:45:43 | 0:45:46 | |
-OTHERS: -Oh, no! No! -Yeah. | 0:45:46 | 0:45:48 | |
Because I fumbled over the words. | 0:45:48 | 0:45:50 | |
No-one has let the side down. | 0:45:50 | 0:45:52 | |
We came as a team and we're still a team. | 0:45:52 | 0:45:55 | |
Next to take the stage, Restless Symphony. | 0:45:56 | 0:45:59 | |
# Ooh-ooh-ooh | 0:46:02 | 0:46:06 | |
-# It was a theme she had -Ooh-ooh-ooh | 0:46:06 | 0:46:08 | |
-# On a scheme he had -Ooh-ooh-ooh | 0:46:08 | 0:46:10 | |
-# Told in a foreign land -Ooh-ooh-ooh | 0:46:10 | 0:46:14 | |
-# To take life on earth -Ooh-ooh-ooh | 0:46:14 | 0:46:16 | |
-# To the second birth -Ooh-ooh-ooh | 0:46:16 | 0:46:17 | |
-# And the man was in command -Ooh-ooh-ooh | 0:46:17 | 0:46:21 | |
-# It was a flight on the wings -Ooh-ooh-ooh | 0:46:21 | 0:46:23 | |
-# Of a young girl's dreams -Ooh-ooh-ooh | 0:46:23 | 0:46:25 | |
-# That flew too far away -Ooh-ooh-ooh | 0:46:25 | 0:46:29 | |
# Don't push too far your dreams are china in your hands | 0:46:29 | 0:46:34 | |
# Don't dream too hard because they might come true | 0:46:34 | 0:46:38 | |
# And you can't help them | 0:46:38 | 0:46:40 | |
# You don't know what you have | 0:46:40 | 0:46:42 | |
# Set upon yourself | 0:46:42 | 0:46:49 | |
# China in your hands | 0:46:49 | 0:46:50 | |
# Doo-doo, doo-doo, doo-doo | 0:46:50 | 0:46:53 | |
# Doo-doo, doo-doo, doo-doo | 0:46:53 | 0:46:55 | |
# Doo-doo, doo-doo, doo-doo | 0:46:55 | 0:46:56 | |
# Come from greed Never born of the seed | 0:46:56 | 0:46:59 | |
# Took a life of a foreign land | 0:46:59 | 0:47:01 | |
# Doo-doo, doo-doo, doo-doo | 0:47:01 | 0:47:02 | |
-# Eyes wide -Like a child in the form of man | 0:47:02 | 0:47:07 | |
-# A prophecy for a fantasy -Ah-ah | 0:47:07 | 0:47:09 | |
-# A curse of a vivid mind -Ah-ah | 0:47:09 | 0:47:15 | |
# Oh, china in your hand | 0:47:15 | 0:47:22 | |
# China in your | 0:47:23 | 0:47:27 | |
-# Hand -Ooh-ooh-ooh. # | 0:47:27 | 0:47:31 | |
There were some wobbles, but, you know, | 0:47:34 | 0:47:36 | |
that was a real success for them, but, my God, they were nervous. | 0:47:36 | 0:47:39 | |
Next to perform, Gospel Essence. | 0:47:41 | 0:47:43 | |
One, two, three, four! | 0:47:44 | 0:47:46 | |
This is a trip. | 0:47:46 | 0:47:48 | |
-Enjoy this trip. -# Ohh | 0:47:48 | 0:47:50 | |
-Countdown is progressing. -# Ohh | 0:47:50 | 0:47:53 | |
Uno, dos, tres, cuatro! | 0:47:53 | 0:47:54 | |
# Ba-ba-ba-da, ba-ba-ba-da | 0:47:54 | 0:47:56 | |
# Ba, ba, ba, ba | 0:47:56 | 0:47:57 | |
-# Ba-ba-ba-da, ba-ba-ba-da -Doo! | 0:47:57 | 0:47:59 | |
-# Ba, ba, ba, ba -Doo-be-doo! | 0:47:59 | 0:48:01 | |
HE HUMS RHYTHMICAL MELODY | 0:48:01 | 0:48:09 | |
# Wah-wah, wah-wah-wah Wah-wah, wah-wah | 0:48:09 | 0:48:11 | |
# Wah-wah, wah-wah-wah Wah-wah, wah-wah | 0:48:11 | 0:48:13 | |
# Come on and listen to me, baby now, ooh | 0:48:13 | 0:48:15 | |
# Wah-wah, wah-wah-wah Wah-wah, wah-wah | 0:48:15 | 0:48:17 | |
I mean... Yes! | 0:48:17 | 0:48:18 | |
# Ooh, ooh, ooh | 0:48:18 | 0:48:20 | |
# Come on and listen to me, baby now | 0:48:20 | 0:48:22 | |
# Ba-ba-ba-da, ba-ba-ba-da | 0:48:22 | 0:48:24 | |
# Dum-dum-dum-dum | 0:48:24 | 0:48:25 | |
# Hey-hey-hey, yeah | 0:48:25 | 0:48:28 | |
# Yeah, hey | 0:48:28 | 0:48:33 | |
# I got the hots for you | 0:48:33 | 0:48:35 | |
# Boo-boo-do, boo-boo-boo-boo-bo | 0:48:35 | 0:48:37 | |
# I got the hots for you | 0:48:37 | 0:48:39 | |
# Ba-ba-ba-da Ba-ba-ba-ba-ba-ba-da | 0:48:39 | 0:48:41 | |
# Hots for you, you, you, you | 0:48:41 | 0:48:46 | |
Enjoy this trip. | 0:48:46 | 0:48:48 | |
THEY ALL SHOUT RHYTHMICALLY | 0:48:48 | 0:48:56 | |
# Ba-ba-ba-da | 0:48:56 | 0:48:57 | |
# Ba-ba-da-ba-ba-da | 0:48:57 | 0:48:59 | |
# Ba-ba-ba-da | 0:48:59 | 0:49:01 | |
# Ba-ba-da-ba-ba-da | 0:49:01 | 0:49:03 | |
# Ba-ba-da-ba-ba, ba-ba-da-ba-ba | 0:49:03 | 0:49:07 | |
-# I've got the hots for you -S'Express, S'Express | 0:49:07 | 0:49:13 | |
-# I've got the hots for you -S'Express, S'Express | 0:49:13 | 0:49:20 | |
-# Ba-ba-da-ba -Hey! | 0:49:20 | 0:49:22 | |
# Ba-ba-da-ba-ba-da | 0:49:22 | 0:49:25 | |
# Ba-ba-da-ba | 0:49:25 | 0:49:28 | |
# Whoo! | 0:49:28 | 0:49:29 | |
# Ba-ba-da-ba-ba-da | 0:49:29 | 0:49:32 | |
# Ba-ba-da-ba-ba, ba-ba-da-ba-ba | 0:49:32 | 0:49:35 | |
# Ba-ba-da-ba-ba, ba-ba-da-ba-ba | 0:49:35 | 0:49:38 | |
# Ba-ba-da-ba-ba, ba-ba-da-ba-ba | 0:49:38 | 0:49:39 | |
Drop that ghetto blaster! | 0:49:39 | 0:49:41 | |
# Ba-ba-da-ba-ba, ba-ba-da-ba-ba. # | 0:49:41 | 0:49:43 | |
CHEERING AND APPLAUSE | 0:49:43 | 0:49:45 | |
I don't think anybody knew quite what to make of it, | 0:49:45 | 0:49:48 | |
but, actually, the jury are smiling. | 0:49:48 | 0:49:50 | |
It was absolutely ridiculous and wonderful at the same time. | 0:49:50 | 0:49:54 | |
It was like going to the moon and back. | 0:49:59 | 0:50:01 | |
It was interstellar. | 0:50:01 | 0:50:02 | |
We did animal noises on national TV! | 0:50:02 | 0:50:04 | |
THEY LAUGH | 0:50:04 | 0:50:06 | |
Sad times now because this is our final group. | 0:50:06 | 0:50:09 | |
Ladies and gentlemen, Choral Stimulation. | 0:50:09 | 0:50:12 | |
AUDIENCE CHEERS | 0:50:12 | 0:50:16 | |
# It's been seven hours and 15 days | 0:50:19 | 0:50:27 | |
-SINGER MAKES HEARTBEAT SOUND -# Since you took your love away | 0:50:27 | 0:50:33 | |
-# Ooh -Go out every night | 0:50:33 | 0:50:37 | |
# And sleep all day | 0:50:37 | 0:50:41 | |
-# Ooh -Since you took your love away | 0:50:41 | 0:50:47 | |
-# Ooh -Ooh | 0:50:47 | 0:50:51 | |
# And I can eat my dinner in a fancy restaurant | 0:50:51 | 0:50:57 | |
-# But nothing -Doo-doo-doo | 0:50:58 | 0:51:01 | |
# Can take away these blues | 0:51:01 | 0:51:06 | |
# Cos nothing compares | 0:51:06 | 0:51:11 | |
# Nothing compares to you | 0:51:11 | 0:51:16 | |
-# Ooh-ah -Swoosh | 0:51:16 | 0:51:20 | |
HE MAKES HEARTBEAT SOUND HE SIGHS LOUDLY | 0:51:20 | 0:51:24 | |
# All the flowers that you planted, mama | 0:51:24 | 0:51:27 | |
# In the back yard | 0:51:29 | 0:51:32 | |
# All died when you went away | 0:51:34 | 0:51:38 | |
# Mmm...oh | 0:51:38 | 0:51:42 | |
# Aah | 0:51:42 | 0:51:44 | |
# And I know that living with you, baby | 0:51:44 | 0:51:46 | |
-# Was sometime hard -Ooh | 0:51:46 | 0:51:49 | |
# Ooh-ooh-ooh | 0:51:49 | 0:51:52 | |
# But I'm willing to give it another try | 0:51:52 | 0:51:57 | |
# Ay-ay-ay cos... | 0:51:57 | 0:51:59 | |
-# Aah -Nothing compares | 0:51:59 | 0:52:04 | |
-# Aah -Nothing compares | 0:52:04 | 0:52:07 | |
# And nothing compares | 0:52:07 | 0:52:11 | |
-IN ASCENDING SCALE: -# To you -To you | 0:52:11 | 0:52:13 | |
-# To you -To you | 0:52:13 | 0:52:15 | |
# To you, ooh-ooh | 0:52:15 | 0:52:20 | |
# Ooh. # | 0:52:20 | 0:52:27 | |
APPLAUSE | 0:52:29 | 0:52:33 | |
Unstoppable. I mean, what... That... | 0:52:33 | 0:52:35 | |
Compared with their first round, | 0:52:35 | 0:52:37 | |
that was just... That was like a different group. | 0:52:37 | 0:52:39 | |
That was amazing! | 0:52:39 | 0:52:41 | |
Choral Stimulation! | 0:52:43 | 0:52:45 | |
Unbelievable. I am so proud of them. Unbelievably well. | 0:52:51 | 0:52:53 | |
-Can't. -LAUGHTER | 0:52:53 | 0:52:57 | |
# Bum-bum-bum-bum. # | 0:52:59 | 0:53:02 | |
The power to decide who will stay in the contest now rests | 0:53:02 | 0:53:04 | |
squarely with the jury. | 0:53:04 | 0:53:06 | |
Choral Stimulation, I was blown away by them. | 0:53:07 | 0:53:10 | |
The soloist, I thought she was sublime. I loved her tone. | 0:53:10 | 0:53:13 | |
I loved what she brought. | 0:53:13 | 0:53:15 | |
The Sons Of Pitches, absolutely marvellous. | 0:53:15 | 0:53:17 | |
A huge mention to their soloist, | 0:53:17 | 0:53:19 | |
who I thought was absolutely stunning on tone. | 0:53:19 | 0:53:22 | |
For me, it was a little bit staid. I was a little bit... | 0:53:22 | 0:53:25 | |
bored with it. | 0:53:25 | 0:53:26 | |
Stratford East Singers, they had an awesome, awesome sound | 0:53:26 | 0:53:30 | |
and everyone was having a really, really fun time. | 0:53:30 | 0:53:32 | |
But there are tuning issues there | 0:53:32 | 0:53:34 | |
and there are tuning issues throughout. | 0:53:34 | 0:53:35 | |
YesterYear, some lovely elements of comic effects | 0:53:35 | 0:53:39 | |
and the bum wiggle was fantastic. | 0:53:39 | 0:53:41 | |
The thing that I was left with was just all the execution errors. | 0:53:41 | 0:53:45 | |
I would have liked to have done much better. | 0:53:45 | 0:53:48 | |
Gospel Essence, thrilling ride with excellent rhythmic style. | 0:53:48 | 0:53:51 | |
I absolutely loved what they did. | 0:53:51 | 0:53:53 | |
But it did feel like it was cobbled together a bit. | 0:53:53 | 0:53:56 | |
It'd mean everything for us to go to the next stage. | 0:53:56 | 0:53:58 | |
We've worked so hard. I didn't anticipate how much | 0:53:58 | 0:54:01 | |
it was actually going to improve what we can do. | 0:54:01 | 0:54:04 | |
Restless Symphony, great distributions of roles in this. | 0:54:04 | 0:54:07 | |
The beatbox, I thought it was absolutely fantastic. | 0:54:07 | 0:54:09 | |
I think they had a lot of pitching issues. | 0:54:09 | 0:54:11 | |
They needed to do a bit more to stay more in unison. | 0:54:11 | 0:54:13 | |
It's time to vote. | 0:54:14 | 0:54:15 | |
Ladies and gentlemen, I have the results | 0:54:26 | 0:54:28 | |
and I can now tell you who is going through to the next round. | 0:54:28 | 0:54:33 | |
These results are in no particular order. | 0:54:34 | 0:54:37 | |
It's a huge well-done to... | 0:54:40 | 0:54:42 | |
-..Choral Stimulation. -APPLAUSE | 0:54:47 | 0:54:50 | |
The next group staying is... | 0:54:57 | 0:55:00 | |
-..Gospel Essence. -CHEERING AND APPLAUSE | 0:55:05 | 0:55:07 | |
Well done. | 0:55:07 | 0:55:08 | |
SCREAMS | 0:55:11 | 0:55:15 | |
The next group staying in the contest... | 0:55:18 | 0:55:20 | |
..is... | 0:55:21 | 0:55:24 | |
-..The Sons Of Pitches. -APPLAUSE | 0:55:28 | 0:55:35 | |
THEY CHEER | 0:55:35 | 0:55:39 | |
Three groups left now | 0:55:40 | 0:55:42 | |
and only two will be staying on at a cappella school. | 0:55:42 | 0:55:45 | |
Staying in the contest this evening is... | 0:55:47 | 0:55:50 | |
-..The Stratford East Singers. -CHEERING AND APPLAUSE | 0:55:54 | 0:56:00 | |
Very well done, Stratford East. | 0:56:01 | 0:56:03 | |
So, that leaves Restless Symphony and YesterYear. | 0:56:05 | 0:56:08 | |
The jury thought this was an incredibly difficult decision | 0:56:10 | 0:56:13 | |
in this round. | 0:56:13 | 0:56:15 | |
But the group that they felt should stay in the contest is... | 0:56:16 | 0:56:21 | |
-..Restless Symphony. -WILD CHEERS AND APPLAUSE | 0:56:26 | 0:56:28 | |
Very well done. | 0:56:28 | 0:56:29 | |
That means that YesterYear, very sadly, | 0:56:31 | 0:56:34 | |
you will be leaving us at this stage. | 0:56:34 | 0:56:37 | |
YesterYear, you know how much I've enjoyed working with you. | 0:56:37 | 0:56:41 | |
It's been an utter blast. You've given me hope for my retirement. | 0:56:41 | 0:56:44 | |
-Sign me up for YesterYear. -LAUGHTER | 0:56:44 | 0:56:46 | |
But not for a couple of years yet. | 0:56:46 | 0:56:48 | |
Thank you so much. Really, really enjoyed it | 0:56:48 | 0:56:50 | |
and we will greatly miss your presence in this contest. | 0:56:50 | 0:56:52 | |
Can we have one last round of applause? | 0:56:52 | 0:56:54 | |
APPLAUSE | 0:56:54 | 0:56:58 | |
I feel so proud of these guys. I'm so, so proud. | 0:56:58 | 0:57:01 | |
We are a completely different choir than what we started | 0:57:01 | 0:57:03 | |
the competition with. CHEERING | 0:57:03 | 0:57:06 | |
-I'm absolutely buzzing cos we've just achieved something... -Yeah! | 0:57:06 | 0:57:09 | |
..that we never, ever thought we would do. | 0:57:09 | 0:57:11 | |
It's a bit like, I suppose, going on a really, really great holiday. | 0:57:11 | 0:57:14 | |
You know eventually you're going to have | 0:57:14 | 0:57:16 | |
to jump on the plane and come home. | 0:57:16 | 0:57:17 | |
It's been really, really good, but we are tired. | 0:57:17 | 0:57:20 | |
We would like to go home and rest in our own bed tonight. | 0:57:20 | 0:57:25 | |
-Hello! Oh. -ALL: -Hello. | 0:57:25 | 0:57:27 | |
Oh. I'm really sorry and I'm really sorry to see you go. | 0:57:27 | 0:57:31 | |
Some of the performances that you did in here for ME were stellar. | 0:57:31 | 0:57:36 | |
And I shall always be grateful for your dancing. | 0:57:36 | 0:57:39 | |
LAUGHTER | 0:57:39 | 0:57:40 | |
I feel actually that on balance it was fair tonight | 0:57:42 | 0:57:45 | |
that YesterYear went. | 0:57:45 | 0:57:46 | |
All aboard the Skylark. | 0:57:46 | 0:57:48 | |
The other groups were better tonight | 0:57:48 | 0:57:50 | |
and the whole basis of this contest is about what happens | 0:57:50 | 0:57:53 | |
over there and they didn't bring it. | 0:57:53 | 0:57:57 | |
This was incredibly difficult, | 0:57:58 | 0:57:59 | |
but now we have to do it all over again, | 0:57:59 | 0:58:01 | |
but the stakes are higher because the performance is bigger | 0:58:01 | 0:58:04 | |
and the groups now know what the level is. | 0:58:04 | 0:58:07 | |
There is a lot of hard work ahead. | 0:58:07 | 0:58:10 | |
Next time, the focus shifts to performance technique. | 0:58:10 | 0:58:14 | |
-Ladies and gentlemen. -Stand up, use your chest and use your voice. | 0:58:14 | 0:58:18 | |
The no-nonsense coaching continues... | 0:58:18 | 0:58:20 | |
Don't make it look like you pooed your pants. | 0:58:20 | 0:58:22 | |
..and the pressure and the stakes get higher... | 0:58:22 | 0:58:24 | |
This is tough, but something has to change. | 0:58:24 | 0:58:27 | |
..as the groups compete for a place in my semifinals. | 0:58:27 | 0:58:30 | |
Staying in the contest is... | 0:58:30 | 0:58:33 |