Showing posts with label Vocal Profile. Show all posts
Showing posts with label Vocal Profile. Show all posts

Wednesday, July 6, 2016

Vocal Range and Profile: So Hyang / Sohyang

Vocal Range: D3 - C#6 - A6 (3 octaves, 3 notes and a semi-tone)
Vocal Fach: Full-Lyric Soprano
Vocal Rating: Star

Vocal Positives: A well developed and technically sound voice. Impressive utilization of dynamics, and rhythmic motifs coupled with sound musical interpretation and knowledge. So Hyang is also a master of color manipulation, from light and airy to full and slightly metallic. From top to bottom, So Hyang maintains good intonation, incredible clarity, and decent agility.

By far the weakest area of her voice, So Hyang's lower register is weak and breathy beyond A3, but can extend down to D3. So Hyang understands this and rarely ventures into the region, instead opting for her middle and upper range.

As she ascends, her voice rapidly blossoms into a resonant, booming instrument with bright, feminine colors and incredible technical capacity. Here, So Hyang begins executing impressive dynamic feats without a hint of strain, executing crescendos and decrescendos as well as transitioning between registers without breaks or faltering intonation, showing how well connected and developed her range is (see Arirang Alone). A rolling vibrato begins to appear, and full breath support is present without exception.

Her incredible technical prowess is what allows her to soar into the soprano tessitura with resonance and freedom, being able to sustain passages at incredible heights (at and above F#5) without a hint of fatigue. She maintains incredible size up to G5, and though she thins above that point, she maintains excellent placement and mixing, allowing her to sustain notes in mixed voice up to C#6.

Her head voice is also wonderfully supported and executed, being bright and resonant up to E6, and maintains startling stamina throughout, sustaining C6s for up to 10 seconds. Above E6, her head voice becomes thinner and more string-like, reaching up to A6. As previously mentioned, So Hyang can transition both in and out of this register without issue, and shows fluidity.

Vocal Negatives: So Hyang tends to become overzealous with her upper belts, and intonation can be spotty in the upper reaches of her mixed and head voice, though usually only for brief periods. Her lower register is also weak and lacks solid breath support.

D3 - C#6 - F6

E3 - C#6 - A6

Star List Qualities:

Saturday, March 26, 2016

Vocal Range and Profile: Aretha Franklin

Vocal Range: E2 - D6 - E6
Vocal Fach: Falcon Soprano (4 octaves)
Vocal Rating: Star

Positives: A rich, heavy and dark voice. Legendary interpretive wit, thanks to incredible knowledge of musical phrasing and vocal pedagogy. Franklin crafted incredible phrases by utilizing rhythmic variations and motifs, dynamics, articulation, vocal colors and drives to create original and brilliant phrases. 

Her melismatic prowess brought the melisma into popular music, with her incredible pearl-like clarity, fluidity and agility. Great articulation and diction that allowed for scatting and color experimentation. A flawlessly balanced voice within every part of the scale.

An incredible lower register that was rich and warm, hit with a neutral larynx, and was reached with incredible ease and accuracy, shown by Franklin's ability to sing melisma in this area with startling intonation accuracy. Projecting down to G2 and robust down to C#3, this explosive lower register contributes to Franklin's fach as a Falcon soprano.

As she ascends, Franklin's vocal colors continue to blossom, showing off a slightly nasal but thunderous middle register. The belting register displays incredible freedom, resonance, elasticity and fluidity, soaring into a perfect mixed voice.  This register is full and projected throughout, relying fully on breath support. Franklin's technique can attest to her ability to sustain each note in this area up to D6. This area also gains a slight, airy rasp before becoming grittier around G5, and a wide rolling vibrato.

Though her tessitura lies in the mezzo-belting range, her belting range and weight soars into that of a Spinto Soprano (also making her a Falcon).

Her head voice is seamlessly connected to the rest of her range, showing incredible control of her passagio. It's bright and full, with the rich rolling vibrato seen in the chest voice.

Negatives: As she has aged, her voice has lost its power and rich color. Her belting can also become overbearing to some. The rasp of the chest voice somewhat hinders the clarity of the belts.

Friday, March 25, 2016

Vocal Range and Profile: Liam Payne (One Direction)

Vocal Range: C#2 - C5 - Bb5 (B5)
Vocal Type: Lyric Baritone (3 octaves, 4 notes and a semi-tone)
Vocal Rating: B+

Positives: Robust, clear lower register that is projected well, often being the bass of harmonies in his group. This area is achieved with great technique and support down to F#2. A highlight of the voice.

Slightly brightening as he ascends, the middle register still maintains ease and displays a warm, masculine tone. Though he gains a slight (pushed) rasp above E4, his voice remains open, projecting well. Unlike the rest of One Direction, Payne has a well-developed mixed voice, allowing him to access a clean, head-dominant C5 belt. 

A light, warm falsetto that Payne has no issues staying in for extended periods. This area possesses a soft vibrato and is reached with ease until around Eb5 when Payne needs more volume to phonate.

Solid understanding of musical phrasing, being considerate to the music by changing vocal colors, texture, and dynamics.

Negatives: The upper extremes of the falsetto are unstable and undeveloped, and the chest register thins considerably as he ascends. Though he mixes at the extremes of his chest voice, the rest of the belting range could use a more even mix.

C#2 - G4 (C#5) - G5

Thursday, March 24, 2016

Vocal Range and Profile: JoJo

Vocal Range: A2 - G5 - C#7
Vocal Type: Lyric Mezzo-Soprano (4 octaves and 2 notes)
Vocal Rating: B+
Recommended Listenings: Too Little Too Late, Limbo, All I Want Is Everything, Save My Soul

Positives: Incredible clarity throughout her range. Her melismas maintain a pearl-like clarity, fluidity, and even-ness throughout her chest voice and head voice. This agility has continued to improve over time. Soild stamina and breath support.

The lower register is strong and supported, and maintains the aforementioned clarity down to C3, while being able to consistently reach B2. These notes are achieved with a neutral larynx down to D3 and avoid sounding forced.

Her middle register/belts is/are warm, bright and glimmering, with a healthy placement, mixing and vibrato. This area is projected well (and has been projected better over time), being resonant and rarely strained. This is where her voice truly shines. Her upper-belts though outside of her tessitura, have shown potential to resonate, with an ability to stay in this register for extended periods (Limbo).

Her head-voice is well explored and connected, remaining feminine and agile throughout. The whistle register, though rarely explored, is piercing with a rolling vibrato.

Negatives: Her upper chest voice is where her technique suffers: belts above D5 begin to sound shouty and throaty, with her placement trying to compensate for her carrying too much weight too high into her upper belts. Her mixed voice could use development. Nasality is also an issue at points, notably in her upper chest voice.

B2 - F#5 - C6

A2 - G5 - B5

Tuesday, August 25, 2015

Vocal Range and Profile: Jessie J

Vocal Range: C#3 - Bb5 - C6 (Eb7)
Vocal Fach: Light-Lyric Soprano (3 octaves)
Vocal Rating: A-List

Positives: A very fluid voice with an underestimated rock edge. Great fluidity, capable of singing incredibly long and complicated melismas with ease. She is able to utilize this ornament in all areas of her voice. She has explored the whistle register with exclamations, occasionally glissing into the 7th octave.

The lower register while the weakest part of the range, can have a slow vibrato applied to it. The mid-range gains healthy resonance, and it where the voice sounds its healthiest, accompanied by Jessie's lightning fast diction and rhythm. The upper chest voice maintains this piercing quality, though it noticeably thins above E5 and Jessie slides into a mixed voice.

Negatives: Notes above E5 can become shrill and thin, and are often squeezed, making them unpleasant to the ear while low notes (below F3) lack resonance and are breathy. Jessie also lacks restraint, struggling not to rely on melismas to impress. Her vibrato and its speed can also be polarizing (often being too fast).

Her 7th octave glissandos aren't being counted because they're not being sung in a key, and there's no accuracy or pitch control for those notes.

Thursday, August 13, 2015

Vocal Range and Profile: Brendon Urie (Panic! At The Disco)

Vocal Range: D2 - C5 - C6 [C7]
Vocal Type: Lyric Tenor (4 octaves)
Vocal Rating: A

Wide vocal range. Clean cut voice that pierces through heavy instrumentation. The lower register is solid and dark and is accessed without lowering the larynx, while his middle voice gains a bright quality. A great, incredibly bright mixed voice allows for an extensive and resonant belting range (See This is Gospel). His voice can soar into the sixth octave often with no strain.  Easy, appealing rolling vibrato.

The voice sounds limited rock stylings. The demanding nature of his songs and smoking can sometimes cause his voice to sound tired. The falsetto above G5 is hit or miss, with some notes having resonance and others sounding pinched and tired.

D2 - C7

Wednesday, April 29, 2015

Vocal Range and Profile: Harry Styles (One Direction)

Vocal Range: A2 - A4 - Eb5 
Vocal Type: Baritone (2 octaves, 4 notes)
Vocal Rating: B-List

Positives: A darker voice than most of his band mates. A moderately heavy voice coupled with distinctive vocal styling which comes with vocal drives and a slight edge. Usually opts for a soft head voice as opposed to a lighter falsetto. In contrast, Styles has a dark and husky lower register down to B2. Good rolling vibrato.

Negatives: Most belts are tense and pushed. Signs of damage and subpar technique show in belts starting at F#4. The lower register loses considerable resonance below D3.

B2 - A4 - Eb5 (An A2 is found in "Over Again")

If you have any questions or additions comment below!

Sunday, March 29, 2015

Vocal Range and Profile: Kiesza

Vocal Range: E3 - A5 - F#6
Vocal Rating: B-
Vocal Type: Light Lyric Soprano (3 Octaves)
Recommended Listenings: No Enemiesz, Hideaway

Positives: Great connection between all ranges of the voice, creating great ease throughout ever register. A great mixed voice allows her to reach up to G#5 without any hints of strain, while the head voice is flawlessly connected to her chest voice and can ascend to F#6 without issue. The head voice is light and feminine. The lower register though under utilized and not extensive, does not seem to illustrate any technical issues. Solid breath control allows to her to perform dance routines and still hit G5's and G#5's without the pitch suffering (see Hideaway and No Enemiesz live). Good dynamic control (What is Love)

Negatives: A strange twang to her voice becomes apparent in some chest notes which can sound like tension, and vibrato isn't utilized very often.

G3 - G#5 - F#6
An E3 can be found in her performance of Take Me To Church in Berlin.

Wednesday, March 25, 2015

Vocal Range and Profile: Sia

Vocal Range: Bb2 - F#5 - C6 [Bb6]
Vocal Type: Light-Lyric Soprano [3 Octaves and 1 note]
Vocal Rating: C

Positives: Instantly identifiable voice, with a fast vibrato and original rasp contributing to this. Able to sing complex melisma with great agility (see the head voice riff in Elastic Heart). Her low notes are not hit by lowing the larynx and have a dark quality to them, though they are easily the weakest part of her range. The mid-range is strong, as well as chest voice notes up to C5. Her head voice is sweet and feminine. Her phrasing and tone are original and instantly identifiable.

Proficient with legato phrases. Her voice is able to adapt to different genres in the pop field, such as disco, pop/rock and EDM. Able to execute growls without strain.

Negatives: Upper chest voice belts (those past Eb5 usually) are horribly strained and pinched, and are never mixed, leading to cracks. Her voice cracks, though they appeal to some, show signs of vocal damage either due to substance abuse, poor vocal technique, or both. She also utilizes vocal fry very often, though this could also be seen as an emotive positive.

Her vocal range on 1000 Forms of Fear, Bb2-Bb6

Notable mention to oziroxxmisoxx on YouTube for a strong write-up on Sia's voice.

Saturday, June 7, 2014

Vocal Range and Profile: Tori Kelly

Vocal Range: C#3 - A5 - B6
Vocal Type: Light-Lyric Soprano, untrained Coloratura (3 Octaves, and 5 notes)
Vocal Rating: B
Recommended Listenings: Pretty Young Thing (PYT), Nobody Love, Thinking of You

Positives: Incredible melismatic prowess, being able to ascend and descend into any area of her voice with ease. Her runs have a pearl like clarity, with each note clearly defined. The lower register maintains clarity down to D3, with C#3's being noticeably less resonant (regardless, her ability to even hit a C#3 is something to be proud of). The midrange is bright and piercing, with no strain present, allowing her to hold notes for extended periods without fatigue. Her mid-upper belts maintain a piercing quality to a lesser degree. The head voice is soft and sweet, as is her whistle register. A quick, jaw free vibrato covers her voice outside of her lower register. Overall a unique instrument with excellent musicianship and decent technique.

Negatives: She utilizes her melismas very often, which can be irritable to some. Kelly also tends to close off her throat past Eb5, causing some belts to sound choked and thin. This seems to have improved recently (see the bridge of Nobody Love). 

Tuesday, October 15, 2013

Vocal Range and Profile: Carrie Underwood

Vocal Range: D3 - G5 - F#6 (Bb6)
Longest Note: 20 Seconds (I Know You Won't Live)
Vocal Type: Full-Lyric Soprano (Though she tries to mimic Mezzo singers) (3 octaves, 2 notes)
Vocal Rating: A-List

Ability to hold notes for extended periods without wavering in pitch, with or without vibrato (Blown Away, I Know You Won't live). She is capable of using properly executed drives as well.

Her lower register is smoky, and maintains the slightly metallic quality of the rest of the range. As she ascends, she finds her strength: her middle register. Hher lung capacity here is incredible, holding resonant and well-supported notes without issue.

A sweet falsetto that is light and airy, as well as a thick, soothing head voice. As a musician, her delivery can be aching, as well as fierce and vigorous (Before He Cheats).

The voice can be nasally, and chest notes become more and more "shouty" as they ascend. Her head voice sounds disconnected from the rest of the voice, and thin. Her vibrato, though a trademark of the voice, sounds uneven. Her larynx placement is also inconsistent.

Tuesday, August 13, 2013

Vocal Range and Profile: Miley Cyrus

Vocal Range: (D2) E2 - G#5 - E6 (C7)
Vocal Type: Mezzo-Soprano (4 octaves)
Vocal Rating: B-
Recommended Listenings: The Climb, Why'd You Only Call Me When You're High, Cyrus Skies

PositivesInstantly recognizable voice accompanied by her unique tone. Soulful rasp (see "Jolene" and "You're Gonna Make Me Lonesome When You Go) that allows genre transitions such as Pop, Rock, Country and Blues. An expansive chest/mixed range, stretching 3 octaves, while the range overall stretches an impressive 4 octaves.

Insanely resonant and healthy lower register, where C3s which are usually difficult for most female singers sound like middle register notes. The lower register is achieved (for the most part) without lowering the larynx, and has been able to project down to E2 with ease. She is able to stay in and around the 2nd octave for extensive periods without issue (very impressive for a female).

Her mid-register contains breath support up to B4, and is achieved with a fair amount of stamina.

Her upper-chest register is achieved with great stamina, and she also able to stay in this register for extended periods with ease (see MTV Unplugged's Why'd You Only Call Me When You're High?).

Though underutilized, her falsetto reaches up to E6 with ease. She's also shown that she can access the whistle register, though it may be uncontrolled.

Negatives: Her rasp can be defined as "croaky" and unappealing. Chest belts can sound throaty and forced and are generally inconsistently mixed. Her head voice is also rarely used.


D2, E2, G#2, E3
The D2 is mostly air but the E2 is legit.


If you have any additional ideas comment below!

Sunday, August 11, 2013

Vocal Profile and Range: Christina Grimmie

Vocal Range: B2 - A5 - F#6
Vocal Type: Light-Lyric Soprano (3 octaves, 3 notes)
Vocal Rating: B+
Recommended Listenings: With Love, Wrecking Ball, Must Be Love (Live)

Positives: A bright, and light feminine tone. Ability to sing complex melismas and sustain notes for extended periods of time. A light rolling vibrato can be found from F3 - _. Capable of properly executed vocal drives. Does well musically with softer, legato passages.

A decent lower register with dark low notes that are achieved with ease and support down to Eb3. Though this is the weakest part of her voice, it is a relatively strong one for a soprano like Grimmie.

As she ascends, she gains more of a nasally, metallic twang, but this effect has been lessening as of late. Piercing, resonant belts that have become more evenly mixed over time (see Wrecking Ball, Find Me). The area from B4 - E5 is the true highlight of Grimmie's voice, demonstrating forward placement, an open sound, and great projection. She brings down her head voice to create a solid mixed voice around D5, being slightly heady with a wide vibrato that projects easily through even the heaviest instrumentation.

Beautiful, warm head voice, accompanied by a clean falsetto in the upper registers.

Negatives: A nasally twang accompanies her voice due to unconventional vocal placement (see the final belt of Deception). Televised performances are often not on par with her other performances. Improvised runs may sound labored and be messy. Guilty of being overzealous with her melismas and upper belts. Minor intonation issues, mostly in the upper register; this register is also prone to thinning above E5. Falsetto notes become thin and strained in the 6th octave.


B2 - A5 - F#6

Wednesday, June 26, 2013

Vocal Range and Profile: Adam Levine

Vocal Range: E2 - D5 - E6
Vocal Type: Lyric Tenor (4 octaves)
Vocal Rating: C

Positives: An instantly identifiable voice. Incredibly fast transitions from Chest Voice to Head Voice (see Payphone). He can use his falsetto for extended amounts of time without fatigue, a notable feat for a male. (Extra comments, ideas?)

Negatives: His voice is very androgynous and can become nasal at points. His overuse of falsetto can become irritable to some. (Extra comments, ideas?)

Friday, May 31, 2013

Vocal Range and Profile: Adele

Vocal Range: C3 - E5 - C6 (D6)
Voice Type: Dark Mezzo-Soprano (3 octaves)
Vocal Rating: C+
Recommended Listenings: Hometown Glory, I Can't Make You Love Me, Someone Like You, Rolling In The Deep

Positives: Adele is known for two things: Power, and Emotion. Though her belts don't stretch incredibly high range wise, they tower over most competitors in terms of sheer force (see Rolling In The Deep). Her emotions conversely, are just as moving. She plays scornful ex-girlfriend, wallowing-in-heartbreak ex-lover, and sweet-wife with gut wrenching ability. 

Her lower register is weighty and full, (see Hometown Glory). The mid-range and belting register loses weight as it ascends, meaning that lower belts are more powerful than upper ones. Though not often used, Her falsetto is airy and used with great expression (Someone Like You), while the head voice is fuller, though not quite operatic. Excellent, natural vibrato.

Negatives: Adele uses improper, damaging technique to achieve the resonance of her upper belts. She also opts not to use her falsetto/head voice very often live, though this could be an artistic decision. 

C3- E5 - F#5

(Bb2)C3 - Eb5 - C6

Monday, May 27, 2013

Vocal Range and Profile: Michael Jackson

Vocal Range: Eb2 - Bb5 - F#6
Vocal Type: Lyric Tenor (4 octaves, 1 note, and a semi-tone)
Vocal Rating: Star

Positives: What made Michael Jackson stand out as a vocalist was his distinct voice. His vocal "hiccups" (somewhat like gulping for air or gasping) and breathless stutters were legendary. His grunts were achieved with good technique, and added to an already impressive vocal delivery. His vocals could be fierce and demanding (Smooth Criminal), or mellow and heartbroken (Earth Song).

He had the ability to sing both staccato (Smooth Criminal) and legato rhythms in perfect timing. His vocal runs were never overkill and were rapidly fluid. He had the ability to hold notes for extended periods without heavy fluctuation in pitch.

His lows were the darkest part of his range, being heavy and ever-so-slightly smokey. His mid-range gained brightness as it ascended, and his belting range had almost a chameleon edge to it, it could adopt different timbres and tones. It could come with a rock edge, a softer, mellow tone, or a light or heavy timbre.. This allowed for vocal versatility and transitions through different genres.

Contrary to popular belief, he did NOT solely rely on his falsetto register. Of course MJ used it frequently, but it was not an indication of his inability to sing in full voice. In fact, if you listen to the "Butterflies" acapella, you can hear that all the high notes are sung in full voice and not falsetto.

Negatives: Voice lacked power and was naturally androgynous. Sounds child-like on many recordings instead of like a full-grown man well into middle age. Often sacrificed diction for feeling.

Note: There is a lot of flack on the Internet about his range and the counting of exclamations above C6. I'm counting the exclamations in his range because 1) they're not strained 2) They're not unintentional 3) They're clean. And for the Eb2, he has sung down to an F#2 in a 1994 vocal warm-up and the Eb2 is years later in 2001. I don't have a problem putting it in his range, since in 7 years he could have expanded his range. Either way, he still has a 4 octave range. Finally, I scrapped this profile together by combining info from DivaDevotee, BarkBiteBlog and my own notes.

Vocal Range and Profile: Lea Michele

Vocal Range: Eb3 - A5 - D6
Vocal Type: Lyric Soprano (2 octaves, 7 notes and a semi-tone)
Vocal Rating: B+

Positives Mixed belts are where she shines, the sounds are produced with great resonance and support. She has the stamina and technique to keep these belts going for extended lengths, such as a concert, without fatigue.

Her tone is clear and cutting, it can slice through even the thickest instrumentation  with ease, and without being forced (See Halo/Walking In The Sunshine). Her diction is very accurate.

Negatives: All of her performances have a theatrical feel to them, though this could be because she has only sang Musical Theatre stylings and has yet to venture out of them (AKA Glee and Broadway). Her belts are achieved without vibrato and are overly piercing and more recently lack stamina.

Sunday, May 26, 2013

Vocal Range and Profile: Lana Del Rey

Vocal Range: F#2 - F5 - E6 (G6)
Voice Type: Dugazon (3 octaves and 5 notes)
Vocal Rating: C+
Recommended Listenings: Brite Lites, Heart-Shaped Box, Young and Beautiful

Positives: Lana has adopted a unique style of phrasing, combined with her unique vocal type, that makes her voice instantly recognizable. Her voice compliments her darker musical styling, but can also adopt a much happier style (Compare Born To Die to Off To the Races).

Her low notes are her most identifiable feature, developing an impressive lower register. Though initially (and still somewhat) foggy, they have grown over time to become heavier and darker.

Her midrange brightens and it ascends, gaining a youthful timbre, compared to her dark lower register. She rarely uses her upper chest voice (B4-E5), instead she opts for her head voice and falsetto. Her falsetto is incredibly light, and Del Rey has no issues staying in this register for extensive periods. The head voice is fuller and almost operatic (Brite Lites). Though not utilized often, her upper chest voice is projected well.

Overall her voice starts off very dark at the bottom, before becoming remarkably bright at the top.

Negatives:Though her phrasing is unique, it can percieved as 'hollow' or 'icy.' Her live performances have drawn heavy criticism for being unpolished in terms of phrasing, leading to off-key runs and intonation issues. Lower notes are also hit with a low larynx, and her voice is often nasal.

B2-D6 (Eb6)

Saturday, May 25, 2013

Vocal Range and Profile: Kesha

Vocal Range: C#3 - G5 - G6 (B6)
Voice Type: Mezzo-Soprano (3 octaves, 3 notes)
Vocal Rating: C
Recommended Listenings: The Harold Song, Last Goodbye

Positives: A voice that can be sweet and gentle, or full of attitude and vigor. Her phrasing is top-notch, she can portray heartbroken with deft ability, have a comical approach, and also give a 'bad girl' attitude with the same deft ability. She is skilled at register transitions.

Her lows are generally comfortable, but are the weakest part of her range. Her mid-range is full and can be held for extended periods without wavering in pitch. The belting range gains resonance the higher it ascends, up to an F5.

Her voice can transition from several genres, such as Rock, Balladry, Country, Electronic, Pop, Rap and Musical Theatre. She has even developed a distinct 'Yodel' characteristic. 

Negatives: Her use of auto-tune has drawn heavy criticism, though she has stated that this is an artistic choice. Her intonation in upper reaches is inaccurate in live settings. Her breath control could use some improvement, and her tone isn't to everyone's taste.

C#3-E6 (B6)

Vocal Range and Profile: Usher

Vocal Range: D2 - G5 (Bb5)
Vocal Type: Leggero Tenor (3 octaves, 2 notes)
Vocal Rating: B

Positives: Agile voice capable of rapid melismas in falsetto and chest voice. The falsetto can be used for extended amounts of time without fatigue (See Climax) and is remarkably piercing. Though the voice is at it's home in R&B stylings, it can adapt a rock edge, that allows for mixed belts up to G5.

His vocals almost drip with sexual energy, which adds to the last R&B comment. His chest voice is powerful in all extents, and his low notes are thick and velvety. His breath control allows for rigorous dance routine without sounding tired or with random breaths thrown into the song. Excellent diction which allows for powerful emoting.

Negatives: The voice can sound shrill or nasal at points. After leaving the R&B field for pop music, his voice no longer carries his distinct sexual tone, and he sounds 'hollow.'