Monday, 17 February 2014

[Cover] Adele Sings Lady Antebellum's "I Need You Now"




It feels as if Adele has been off the scene for a millennium. She was only brought back to the forefront of my consciousness after bagging a Grammy at this year's awards for her James Bond theme song, Skyfall.

So hankering for some more Adele, I went on a YouTube bender, consuming videos featuring the singer in an almost undignified way. It was during this binge that I found the following video, taken in 2010, and it's been on constant replay since.

Take a listen to Adele (and Darius Rucker) covering Lady Antebellum's I Need You Now at the 2010 CMT Artists Of The Year.





Thoughts?

96 comments:

  1. Make me think of 80s pop

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  2. I personally don't listen to album samplers because we get an entire verse and chorus so we might as well have the whole song haha. I feel like it's basically listening to an album without the full EXPERIENCE. No build up leading to the final chorus, or the speechless moment when the song ends.
    But I am excited tho, because lots of people say it's amazing, and a return to the disco with Kylie. So I'm pumped up.

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  3. I actually think I prefer the original to this version, but they by no means do a bad job. I love Adele and Darius. I'm incredibly excited for her next album tho. She described it as even more intimate and stripped down as the first two, I don't know how that's possible but I have my tissues ready. It's always great when artists take time and don't feel rushed to make an album though, the best ones are the ones that wait until they're 110% ready.

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  4. I've always hated this song for some reason, although I do like the voice of the male vocalist in Lady Antebellum. Needless to say I prefer this version.

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  5. "Rumour has it that the ..." I see what you did there Mikey ;D
    Aw what I liked the most about Adele is just that she doesn't have to go with the flow in order to be simply fantastic. 21 is in fact still playing over and over in my room ever since it's been released, it's just pure gold...

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  6. Wow. I think you have a great voice - this was a great song also. I liked it. What is your voice type if you don't mind me asking? Kavalier (Spinto) Baritone? You sound like you have a voice that's much similar to mine. I think I am a Kavalier Baritone. But, on that note, would you mind explaining the difference between a Lyric Baritone and a Kavalier Baritone to me? Like, Passago/Transition Points, Range, Timbre and stuff. I am so confused. Also, do Kavalier's have large voices or more medium-to-large voices? Thanks.

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  7. Well, my voice type is particularly difficult to place, as my voice hasn't developed into its 30 year-old counterpart. I hover around a middle-weight baritone, though I sing up in tenor range a lot.
    As for differences...okay, no problem.


    Lyrics baritones: passagii are at around B3 and E4, though it can vary by a few half-steps per person. Range for lyrics tends to have low extremes at about G2, and high extremes as high as A4 (though this is rare) in full, connected operatic voice, though this is not to say that the range can't be larger.
    Timbre - soft, with a good core when developed. Typically lighter sound, and a mellow quality throughout the voice, achieving good sound output when supported. Quite often, these are beautiful voices.


    Kavalier baritones: passagii are at around Bb3 and Eb4 (with some variance). Range extremes are about F#2 to about G4 or G#4 in full operatic voice. Often, Kavalier's can 'meld' their tone to a lyric or a dramatic tone if asked, as their voices sit in the middle-weight category.
    Timbre - sounding like a lyric baritone in the lows, but with a distinctly darker and richer sound. Usually, they can carry more sound lower than an average baritone, and some can even pass as lyric bass-baritones. As the voice ascends, it will grow incredibly forward and brassy, culminating at their top notes, which have an iron-like quality to them.
    Often, the Kavalier will also use considerable natural 'squillo', to slice through the orchestra; aided by their thicker vocal folds, this makes for a considerably greater sound output than a lyric baritone at the top, though often sacrificing beauty of tone as larger voice types tend to.


    To answer your first question better, I am between a Kavalier and a lyric bass-baritone, depending on the day. In pop or punk music, I'll usually lighten the tone considerably, making my sound much more tenor-like and nasal. I also have countertenor training, so I can get a full A5 in head voice when needed (and higher if asked, though that's entering whistle-mix).


    To answer your final question about vocal weight...it's a little more varied with Kavaliers. More often than not, what defines a Kavalier is the physical appearance, and the sabre-like slicing quality of the top notes. It is typical for Kavalier baritones to have a middle-weight voice, as dramatics would be uncomfortable or sound out of their element with extended lyric passages, and lyrics would be hard-pressed to be heard over an orchestra at great volume. However, these can be middle/light voices, as well as middle/heavy voices, much like the counterpart in soprano-land - the spinto.

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  8. He's a Lyric Baritone, nice voice too. Similar to his voice in what way? Voice size? Timbre? Weight? Kavalier is Spinto pretty much. Big voice, warm/dark timbre, somewhat heavy. Very even scale.
    Kavaliar Baritones have darker voices, timbres akin to that of Sammy David Jr/Tom Jones. Their voices are big, meaning they can achieve a very large column of sound in BOTH the upper register and mid register, not just one or the other. And their voices are generally somewhat heavy but not entirely. They're very rich voices. Lyric Baritones have a higher tessitura, a lighter colour to their voices and have very little weight, in comparison to that of the other fachs. Their voices are smaller so they aren't able to achieve that voluminous sound that a Dramatic/Kavalier can. Yes, they are large. Medium? Debatable.

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  9. I've got a question, can a full lyric voice have a "big voice" or is it something just reserved for spintos and dramatic singers?

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  10. Full Lyrics? Yes, they can have big voices. Lyrics can have big voices but it's rare. Having a big voice is an integral part to being Spintos/Dramatics but it isn't limited only to those fachs. An example of a Lyric with a big voice is Clay Aiken. Full Lyric with a big voice would be Nicole S. Lara Fabian is a Full Lyric with a big voice.

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  11. Good for you, girl, and ditto with the all black clothes on Valentines Day, my sentiment exactly!
    "Cause you are beautiful, in every single way
    Words can't bring you down"
    I am so cheesy :-), I had to go and spoil it didn't I?

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  12. Sara Bareilles (and me) would both like you to
    "Say what you wanna say, and let the words fall out
    Honestly, I wanna see you be BRAVE"
    At the end of the day, it doesn't matter what your family thinks, it's about you feeling happy, and not suppressing yourself for others. Be selfish, it's your life, so own it. Cause after all, "Ain't nobody got time for that!" So just do it, and if your family and friends really love you just for who you are, they will accept you. There's more important things in life than worrying about what others think of you. Alright, enough of my 17-year-old pseudo-psychologist hat for now!

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  13. Don't come out if you feel it will compromise your safety. Your safety above all things should be in consideration before you come out to anyone, because sadly we live in that kind of world. I personally don't know your family, but being cast out on the streets or beaten (speaking from experience) isn't exactly uncommon grounds for those who come out, as I'm sure you know. If you do choose to make that decision, all the best to you :)

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  14. Yes. A larger sound output just comes easier to spintos and dramatics.
    Like Kelly Clarkson would need to focus if she wanted a G5 to be heard over loud instrumentation, whereas Monica Naranjo wouldn't even have to bat an eye to generate the same volume or louder.

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  15. I agree, It's a timeless album, with so much staying power that it's probably gonna stay on the charts for another 21 years.

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  16. Yes and no. I mean, you're correct about Monica. Kelly however quite naturally soars on G5s and could always produce an excellent column of sound there without breaking so much as a sweat. Also, Kelly's voice has quite a bit of squillo to it so being heard over loud instrumentation would never ever be an issue. But yes, I understand what you're saying. Lyrics in general have to place the sound correctly in order for it to resonate over huge sounds whereas someone with a larger voice innately has the ability to do so due to their natural vocal prowess and anatomy.

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  17. i dont think they will cast me out but i do know everything will change if i say it. im just scared of what change it will be. thank you very much Seren :)

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  18. hahaha thank you for the empowerment. i know that i'll have the courage soon im just waiting for the right moment :)

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  19. this is a bit out of context but i saw this site and it shares many similarities to yours DD, http://www.criticofmusic.com. what's your thought?

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  20. I personally think this whole "coming out" business has become ridiculous. I mean, if you were straight you wouldn't make a big announcement speech to your parents would you? You'd just fall in love with a girl and start talking a little too much about her, start seeing her more than others and your parents would eventually catch on.

    Personally that's how I approach the whole thing with everybody.
    I just act natural about it and if someone asks, I answer truthfully.

    So far, in thirty odd years and doing this in both Israel and The Netherlands and just about any situation (work, out and about, hell, even in the dog park LOL)..I have had about two straight out "negative" reactions but neither of them really bad. Just people telling me "ugh" basically.
    And one job interview, I knew, went down south the moment it became clear to the interviewer. I realized...wouldn't want to work for such a person anyway.
    I'm sure there were plenty of people who had their negative opinion but generally, I find, if you are natural about it, such people keep that to themselves.
    I think the more strident you act with people, the more strident response you get back.

    But Seren is right in that you should be careful in situations where this might endanger your physical well being. Like situations were, if the response is negative, the other could get away with reacting violently.
    But in most social situations that is not the case and certainly most parents do not throw their child unto the street or beat it.
    But if you think they would, keep silent until you are no longer absolutely dependent on them.

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  21. Did you know in advance they might respond like that Seren? I mean, were they in the habit of beating you for doing something they didn't like? They kind of parents who spank?

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  22. erm... Perhaps its a coincidence...lol. I suppose I'm flattered if they're, lets just say "influenced" by what I've done....

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  23. I'd never heard it before. I can't say I'm very familiar with Lady Antebellum, other than by name. I was amazed to read how big they were/are in the states though!

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  24. I read Adele was going full on country with the next album. I think she should wait till she's older to explore that sound, so would be more than happy to be wrong about that.

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  25. Care to share some Darius Rucker with us? I'm not familiar with him. I know I could go and YouTube his name, but it would be nice to have someone show me what they consider the best of him.

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  26. Darius was the lead singer of Hootie & the Blowfish.

    https://www.youtube.com/watch?v=Ln6WQqRDrCo
    These days he moves in Nashville circles a lot.

    Here he is backed up by (two of my favorites) Alison Krauss and Vince gill (getting those two on your album means you are being taken serious in Country circles)

    https://www.youtube.com/watch?v=ufeOn7jUijw


    I have to say personally I kind of enjoyed Hootie & The Blowfish but am far from impressed by Darius vocal ability. Certainly way better male vocalist around in Nashville imo

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  27. LOL No worries, your blog seems to be more popular and imo your writing is more entertaining. ;-)

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  28. Never. Also, it was just my father. My mother never laid a finger on me. As I have said before though, my dad did break my arm by squeezing it when he was trying to "scare/persuade the gay away". I also never came out to either, everything was labeled as a "phase" and kept swept under the rug.

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  29. I just wish he'd say something... I feel like I don't really have the connection I can have with him (why does this sound like some incest fetish?) and then there's that doubt that is stuck like a little parasite living in me.

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  30. To my mom, about 5 years ago when I was 13. I discovered it much earlier, though. I decided to let her read my diary because it was much easier that way. LOL.
    But to be official it was about one and half a year ago. I just said it to both of them: "You know I'm gay, right?" (I was sure my mom had told my dad at some point after that diary incident)
    Then that whole incident happened.

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  31. I did the same "I just act natural about it and if someone asks, I answer truthfully." with other people.
    But I think that my parents are the exception. They should know. My brother found out by himself and I didn't have to say anything or confirm anything (well, he kept calling me gay when I was young and I had no idea what that meant back then) xD

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  32. Oh well to be quite honest, I think you should've owed them a more clear and sincere declaration, they're your parents. I know it's hard, but I bet you completely caught their napping :/ But then, oh well. there's no sense crying over spilt milk, is there?

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  33. Ugh that song though. the most beautiful part (lyrically) had to be irritatingly oversung and -belted, it's frustrating.

    "no matter what they do
    no matter what they say
    we're the song inside the tune
    full of beautiful mistakes
    and everywhere we go
    the sun won't always shine
    but tomorrow we'll might awake
    on the other side"

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  34. The second one was more sincere, I guess. because by then I had fully accepted it and worked through my sexuality problems. The first time I truly said it out loud (that was when I let my mom read my diary) I only transitioned into a teenager and I had plenty of stuff to sort out.

    I don't know how to else to say it. Bake a rainbow cake and say, "Surprise! I'm gay!" ?

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  35. We're the song that's out of tune*

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  36. I know it's tough, and I wish it wasn't that way for you, or anyone. But just understand that it's not your fault no matter what for being gay. If your father refuses to discuss that with you, you shouldn't have to worry about it (even though you can't help what you feel), and you don't need that negativity in your life. Know that you have a bright, happy future ahead of you full of positivity and opportunity.

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  37. Your Kelly selections are very convincing. I was truly surprised to hear her cover Mazzy Star -- a band my roommate played a lot back in the day. I liked them, too, but spent my money on punk. I listened to a live Mazzy Star version and find Kelly's to be superior. She uses her extra vocal firepower very tastefully, adding beauty without oversinging. Funny thing is that Kelly's version gave me a strong "Wild Horses" vibe whereas Hope Sandoval's didn't. Kelly's Aretha cover was another winner, though I'd rate Jennifer Hudson's higher. And that's not because Jennifer is from that concrete monument to music genius -- drum roll, please -- my hometown of Chicago! ;D


    I wasn't quite as sold on Anouk. Don't get me wrong, I think she's outstanding, and I liked the second song better, given that the first came across as a loooong vocal noodling session. Anouk has great tone and rasp and is bluesy as hell, but in terms of raw power, as in, sheer vocal boom, I don't think she can quite stand up to Aretha. Thanks also for introducing me to some Dutch artists. The last one I was in any way familiar with is Amber, thanks to the awesome "Sexual (Li Da Di)." But there's probably more I've heard without knowing they were Dutch.


    So yeah, nowadays, thanks to Madonna, I reckon, if you want to be a bigtime female pop star, you want to look like Miley, Rihanna, Beyonce, etc. They can all sing better than Madonna, IMO, but they're not in the same class as the above two women.

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  38. The first Anouk song was an improvisation with the purpose of giving the back up singers a chance to be in the spotlight and strut there stuff.
    I am not sure whether she could match Aretha's power but in that video I posted of the 4 ladies, I would definitely say ...neither could Roberta Flack or Peggy Lee.

    I don't have a clue as to who Amber is. Tbh I don't know many Dutch singers but I do know few have international careers so I don't think you heard much of them without knowing they were Dutch, LOL

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  39. Thank you for the kind words. :)

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  40. Primo Uomo Assoluto20 February 2014 at 18:42

    Kylie can do no wrong. This album feels like the after hours party soundtrack to the main party that is "Aphrodite".

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  41. wait, are you serious or kidding? *confused*

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  42. No, I'm serious, that's what the lyrics actually say haha

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  43. Wow. Thank you so much for the response. Well, even though I don't know JACK about vocal pedagogy (just a little), I honestly do believe that I may be a 'Kavalier [Spinto] Baritone but let me explain why:

    Excluding Falsetto, I have a full- modal range of Eb2 - A4 however, I feel the most comfortable singing between F2 - G4 namely.


    I actually start belting at A3 and then feel my voice change/transition to which I enter my upper chest register at Eb4/E4. If that is the case, would my upper- mid register span A3-E4 and upper register span F4+? Also, I suppose my lower- mid register would span C3 - G3? Correct?


    Yes. My voice is definitely at its most dramatic (loudest & largest) when belting between B3 - G4; on any note above G4 (G#4/A4), I can feel my voice lose chest weight & resonance thus the sound, although strong, isn't as ample and is very head- oriented. However, I suppose that is natural right? Considering the fact that I'm starting to go out of my comfortable range. If I were to learn to mix more, the result may be different. Below A3, again, although the sound is strong, the volume output is medium sized and it isn't as ample but I definitely can still be heard.

    Overall, from reading the criteria of how a lyric baritone sounds, I feel as if I don't fit the description at all. My voice isn't warm/smooth/agile; it's very rich and dark/heavy but not that dark/heavy. I only sound lyrical when I'm singing in falsetto and lower- mid register. I suppose this places me within the Spinto category - our voices start of as lyrical but become dramatic as we ascend.

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  44. More or less, you got it. If your voice attains a particularly slicing quality at around A3 to around tenor G or A, and then have a low range that could sing Bass II in choir, but isn't really all that strong as it gets low, you're a Kavalier. Depending on how much you mix your voice, that can change, however. Honestly, I would advise getting more of your head voice into your belting - when the resonance literally makes your teeth shake is when you know it's perfect. Often, I can belt up to F5 in a mix (though the sound becomes tonally iffy around that G#4/A4 area, same as you). Also, this makes me curious as to what your falsetto (head voice if it's connected; vocal pedagogues frustrate me with the gender difference. It's better to think of falsetto as disconnected and not as full, and head voice as connected and large in sound) can do. Have you developed the head register, or is it kinda breathy?

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  45. Okay. Well then, it's settled: I am a Kavalier.


    Yes, my lower register (E2 - C3) is very strong/solid but is at its most ample from G2+ which makes perfect sense.

    In all honesty, I think my head-voice is just right for a Baritone, I suppose. It can take me up to a clear, solid & comfortable C5 whereas my Falsetto can take me up to a G5. However, I rarely ever use my head-voice/falsetto - I am just bias towards it, especially as I'm a Man, with a very Masculine voice, and a Baritone. How would I learn to mix with my head voice more?

    I have had choral training and so on but never anything too extensive. My voice is definitely suited for Traditional-Pop or very straight- singing Pop styles - Soft-Rock/Easy-Listening/Jazz; it booms on those genre's and even the style of your song above - eccentric indie/alternative. I'm very shy however and rarely perform live and I wan to get past that but don't know how. Any advice? Thank you so much. :-)

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  46. Well, I got over any shyness I had about my voice by belting Christina Aguilera songs whenever I got the chance, but that's just me, it seems.
    Eccentric indie/alternative? Really? That's a new one.
    If you want to sing traditional pop, I would recommend Nat King Cole's entire repertoire (he's the perfect example of a baritone, despite being lyric, his songs really fit our ranges, and help to learn piano dynamics on the top of the voice), some Mariah an octave down (really helps agility), and if you want to try your hand at Classical music, go with either Wagner or Wolf for some real Germanic fire.

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  47. Her voice has 5 octaves and her vocal type is mezzo-soprano...

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  48. Oh, okay. I see... I will most definitely take those styles into consideration and start to include them.

    By the way, would you say that this Man is a Kavalier [Spinto] Baritone or a Lyric- Bass Baritone? [He starts singing at 6:10 - his voice is STUNNING]


    Also, is it a bad thing that I tend to sing comfortably within the range/tessitura of a Dramatic Baritone and/or Lyric- Bass Baritone [F2 - F4] as opposed to a Kavalier or a Lyric Baritone [G2/G4 - A2/G#4] even though I ama Kavalier?

    http://www.youtube.com/watch?v=qNuQbJst4Lk

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  49. Just saw that live vocal range vid and those high C's and C#'s seemed far far too easy to be the top of her range. She can definitely go higher. And that E6 at the end of the vid was perfectly on-pitch and to me sounded like it was supposed to be an E6, not like it was a random noise. I think that note should count if I'm honest ;).

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  50. I always loved her voice in soft rock songs, IMO she has a really good tone for rock songs.
    Listen to think twice, where does my heart beat now , etc.

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  51. I saw somewhere on the internet that she said once in an interview she could do whistle register but she was adviced to not do it.
    And about her headvoice, that E6 whas clear,sustained and not strained so it's the highest not we heard by her this far.

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  52. And as a Soprano she should have higher headvoice notes, mezzos like p!nk are able to reach D6 without trouble.
    She might be afraid of going that high because she may not have a nice control of that part of her range .

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  53. She is a Lyric Coloratura Soprano.

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  54. I'm a low baritone and my maximum highest head or mixed-voice note is F5. I'm sure Celine could go at least an octave higher than me lol. I agree no way is C#6 her controllable limits. That E6 was legit to me.

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  55. Her technique? Noooo. Her mixing has become a lot worse & because of it she's unable to resonate well, even on the mid belts. Less tension, sure. But resonance as a benefactor should be the result...it isn't. I prefer her sound prior to the 2000s. It was a lot more natural.

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  56. Her voice before 2000 wasn't natural by any means - she couldn't seem to belt a note in the belting passagio (D5-F5) without sounding terrible. Her notes are more resonant than how they were before, but unlike before, she mixes more, so the notes are smaller. Before the year 2000, I haven't found even ONE good E5 or F5 - now she belts them with no problem, excellent clarity, and good (if not perfect) resonance.

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  57. Well I'm a tenor (still don't know of what kind) and I can go up all the way to D6 with headvoice and sometimes reach E6, and I can go even higher to B6 with whistle register so she definitely has higher notes but doesn't showcase them.

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  58. So sad, if she had learnt how to mix during the 90's she would have been so great, her power and resonance on midbelts is unmatched.

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  59. When Mariah was supossed to show she was the better vocalist she couldn't , I'm talking bout divas live. Aretha wanted mariah to show her legendary vocal skills but she didn't, instead CĂ©line did some of her highest belts live without straining and matching Aretha's power.

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  60. Guess what? She WAS big and still IS big.

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  61. I'm not saying she wasn't big. She's my Idol and even with her poor technique she could sing her butt off, hell sometimes I think she could match Whitney's power.

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  62. Yes, my bad you didn't say she wasn't big. You implied she wasn't great. I am afraid I have to disagree with you on that point to.
    Frankly I do not care for Whitney one bit and imo Celine is the better singer all around. I don't consider empty vocal acrobatics good singing and to me Whitney's acrobatics were always very empty.

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  63. Not at all. Celine incorporates too much heady resonance into the mix now, so the sound thins & lacks resonance. It sometimes is unable to project over the sound. That isn't resonant, at all. Are you kidding? Not only that, it's inconsistent as there are times she can even out the mix through the mid register (sometimes) but the higher she goes the tonality changes. Her tonality was far more consistent back then than it is now and that's a fact. So yes, the sound OBJECTIVELY speaking was a lot more natural sounding as it didn't differentiate from the rest of the tone the way it does now as she goes up the scale. She was throaty back then, yes, but at least she was able to maintain the tonality of the notes without shifting. Her placement is better, that I'm not denying. She does mix more head resonance but the sound isn't fully resonant the way it should be. sometime she even pushes through the mask. All I'm saying is that the resulting sound of her newly found mix isn't at all homogeneous to her natural tone.

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  64. I wouldn't call a tense sound a more natural sound. From a technical approach, "too much head voice" is far in a way preferable above an F4 from a Classical perspective. Her sound has limited resonance because she strives for a 'pop' sound, and therefore minimalises the amount of sound she uses. However, the objective of technique, first and foremost, which trumps anything about projection and resonance is:
    Keep your voice neutral/don't strain your voice.
    There were plenty of times during the 90s where Celine's voice was strained as HELL, belting in a 'natural' way. This is probably why she tried to find a new way to belt to begin with - her voice was getting tired and she needed a different approach. Without a doubt she overcompensated and uses too much head voice when she belts, however, the sound is pure, the sound is healthy, and though it is small, it is a far better sound to hear than a strained E5, wouldn't you say?

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  65. So glad she's not listed as a Mezzo; that was puzzling to me, as her tone is very, very soprano like.



    The one thing that she does that Aretha also does is use so much head voice in their mix that it sounds like a man belting in head voice or falsetto. A good deal of her "high A5s," can be easily replicated by someone like Steven Tyler or Steve Perry because they lose so much weight.


    The only people who can really belt up there and maintain much seems to be Patti, Monica, and sometimes Chaka (hers thins out but it never gets "man in falsetto" thin).

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  66. I certainly wouldn't call an alternate sound differential to the rest of the voice natural either. And you mean head dominance? You can still have an even mix while being head dominant. There is no type of balance, at all. That is not preferable. Just because a sound isn't tense or strained doesn't mean it's resonant. Also, your argument is invalid as there's a mass of singers in pop who sing with full resonance. The "Pop sound" isn't devoid of resonance.


    Also, the objective of technique? What type of technique are you referring to? Because technique is any form of method. Using the throat is a technique. It's a bad one, but it's a technique. So the "objective of technique" varies as it isn't at all definite. There's a variety of different techniques & ways to execute certain feats depending on the person & how they wish or see things to be done. Now if you're speaking in terms of theory and pedagogue, that's different.


    Less taxing on her folds, sure. I guess in that sense it's a lot better. But is it good? Thin sound with no resonance annexed with an alternating tonality? No. And is it natural? Absolutely not. So honestly, it's a lesser of two evils thing...I choose old Celine sound any day.

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  67. I should have specified what I meant by technique - technique as taught by Classically trained voice teachers (where a lack of strain is the absolute first priority).
    Celine's issue nowadays, I will agree, is resonance. She may not have audible passagio points, but there's no power to her middle voice anymore, that I gladly concede.
    However, I still prefer to hear a singer without strain or tension on their voice as opposed to one who does. For, despite what power she once had, I much prefer a completely head-dominant voice that has no strain. So I choose what I consider the lesser of two evils. Truth be told, I would enjoy Celine's sound to be sort of a combination of her two techniques - resonance and power from the middle, but with the blended head/chest voice that she has now. Ah well - she does what she does to protect her cords, and it's obviously worked.

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  68. I am a fan of her voice, but I think it's important that people realize that loud singing doesn't automatically translate to having a wide vocal range. Yes, Karen can sing in the fifth octave pretty well and can occasionally belt up to C6 (I have not heard her go beyond that since she was 19, though), but she really doesn't sing low notes very much in her songs, which limits her range. People like Mariah Carey have wider ranges because not only can they sing in the whistle register but low in their chest. (Mariah has hit notes down in the second octave easily.)

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  69. You know guys, I'm more curious to her current range and colour. She definiteley isn't a soprano anymore. I would consider her to be more like a lyric mezzo soprano with a high tessitura. She can reach down to C3 easily with resonance but, her belting stops with E5. When she mixes, she can belt up to A5 but, that's where it stays at this moment. I was lucky to see her twice in Antwerp previous year and all I can say is that she sings just the same way as on cd and that is rarely done by popular artists of these days. Then again, she has such a beautiful headvoice which in my opinion isn't showcased that much as it has should been... What do you think about that guys? Or am I seeing things wrong?

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  70. Full Lyric, not a Coloratura.

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  71. Range is not the same as pitch. She's has a really high pitch but she might not be able to go as low as someone with more range

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  72. One can only hope =(

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  73. Much love <3 http://www.youtube.com/watch?v=362JArvhAqg

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  74. New age vampires plus traditional. It's basically about this family of vampires who don't know they're vampires. The mother is a vampire but she married a human being. Since vampires canNOT marry any human beings, she was banished from her own family at fourteen. Her children; Vlad, Luna, Silvia, and Crow are around pre-teen age and their dad is a scientists fascinated with mythology. Vlad is the first to find out she's a vampire during the night of her mother disappears. During the night of their mother's disappearance, the kids see their dad begging with a stranger to not take the kids and a "shooting" noise sounds. Then, they hear their mother's scream and beg the "shadow" to stop it and say, "take me instead." The next day, Vlad and co. find out their house is being sold and their dad is taking them "somewhere safe." Along the way, the kids find out about their powers and the secrets of their mother's disappearance. Their dad dies and it basically concludes with them going to their mother's residence where they find out her mother doesn't know them anymore.

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  75. We began plotting out the story yesterday :) The shadow their Grandmother who wants her grandchildren because she wants them to be "properly honed." The Dad of course is clueless and the Grandmother basically tries to kill him and Molly, the mother basically sacrifices herself for her children but she knows they'll either kill her or brainwash her.

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  76. Holy moly, I love it! What are the powers and who is the shadow? How long did that take you to plot out?

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  77. Well, the Valentines Day made me realize how attention grabbing plain black clothes actually are. they suck in all the light, all the light inside of your soul...
    Lord in Heaven, yes ! I think it has 11 letters..

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  78. Well they were accepting and everything but they still don't think I'm experienced enough to be able to judge (too ugly to get the D or the V). My mom said I just haven't found the right girl. And then I asked her how she knows that she isn't attracted to Lamas if she never made out with Lamas (picked that up somewhere on tumblr), that made her shut up...

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  79. New age vampires or traditional vampires? What is it about? tell me, tell me :D

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  80. Oh! Thanks for telling me. My story is going great although I'm working on a new story with my friend. I'm just helping her with the story and of course, it's about vampires (lol).

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  81. Good for you! A Valentine's day to remember. :-)
    Glad to hear it went okay.

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  82. LOL I seem to remember stealing it from this blog.

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  83. Oh wow! How'd it go?? (oh and Congratulations!)

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  84. DUDE this is brilliant ! I hear quite a lot of Queen in there. So many epic moments. I'm your first fanboy, okay ?

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  85. I finally came out to my parents. Yay ! Plus I only wore black clothes today

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  86. https://31.media.tumblr.com/a3329dd0f58d65dc5b716c69a7eb99f6/tumblr_inline_n0z8l2Vbke1rv5pnb.gif

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  87. Well...I'm just a little flattered...

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  88. https://24.media.tumblr.com/568866cc2abd3ffe61423b8204721dcb/tumblr_mkf3qvxohd1r0ftodo1_500.gif

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  89. That's just what the doctor ordered!! Really Impressed!

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  90. thedigblackbick7 June 2014 at 01:12

    The more you know. Had no idea that contralto voices don't mature as early as other voice types. Can the same thing be said about the male counterparts: basses?


    JESUS, they both sound like full grown men.

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  91. With that kind of range, I'd hazard a guess at either a mezzo or a contralto. Depending on how androgynous your tone is, it could be either voice, though I'm sure you can sing higher than that. Even basses can go above C5 in head voice.

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  92. her voice isn't that brittle, especially since she's had good showings recently at the new years/art of letting go performances and the xmas performances.


    that said, i don't think the ending note (20 seconds live? c'mon girl) is live, but i think that this was live regardless. the notes she puts in her songs now are not high at all (the max this era is an E5 unless you think she hit a G5 in the AOLG) which means it's totally plausible for her to hits these notes. She sustained a brilliant E5 last year.

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