[Vocal Profile] Stevie Wonder

Stevie Wonder

Vocal Type: Lyric Tenor
Tessitura:   2 Octaves (F3-F5)
Vocal Range: 3 Octaves 5 Notes and a semitone (F2-D#6)
Whistle Register: No
Vocal Pluses: Stevie Wonder's lower register is light in weight with a color that is nasal, which makes his lower register sound somewhat thin. It extends down to D2 with a vocal fry extension but he can hit an F2 with his modal voice. As a result, the F2 is much more healthy in its quality. Wonder exhibits a slightly smoky texture as he extends up to around the E3 mark, but his resonance is lost below G3. Overall, his lower register is achieved using decent technique.

His mid voice, spanning from G3-E4, showcases his nasal tone better. His voice is light in weight but somewhat thick in tone- most likely due to the nasal placement. In this register Wonder has plenty of freedom and agility. His falsetto, for a man breaks late at around E4 (2 notes shy that of a typical tenor) which places him in the realm of the highest tenors. Overall, this area is achieved using brilliant technique, via mixing or high nasal placement.

His belting register is the strongest and most impressive part of the range. Extending from E4 to an impressive A#5 (though the video claims a C#6 which is ridiculous) this is where his tone really shines. His E4 to B4 sounds light and thick with a slightly velvety texture, but as he hits the C5, his voice becomes brighter with mezzo-soprano like weight. His elasticity is uncanny for a male; being able to complete complex and quick vocal runs with ease. Wonder accesses these high belts with one of the most developed mix voices of all time. His technique in this area is generally phenomenal.

He generally exhibits a mix between head voice and falsetto called falsettone. It extends up to D#6, however it sounds at its most healthy at G#5. The sound itself is thick, lacking in defined resonance (though it is there as he transitions between falsettone and head voice, quite a bit above G#5) and sounds akin to a bugle in color. Any note above G#5 is not sung with the best musicianship and his technique in this register is not great.

Vocal Negatives: The head voice also needs to be improved on to strengthen its tone and connect it better to the lower range. The nasal quality of the voice is also not to everyone's taste.

[Vocal Profile/ Range] Justin Timberlake

Justin Timberlake

Vocal Type: Lyric Tenor
Vocal Range: 3 Octaves 2 notes and a semitone(F#2-B5)
Whistle Register: No
Vocal Pluses:Justin Timberlake possesses a light, youthful and warm voice that is agile and capable of executing vocal runs [Hear: Pop, Gone]. Thanks in part to its lightness, as well as the varied textures that are found throughout its range, the voice lends exceptionally well to harmonising both with itself and with others. Not just restricted to singing, he also is able to manipulate the voice to recreate percussive instruments, demonstrating this "beatboxing" on various tracks [Hear: Pop, Cry Me A River ].

Timberlake's lower range extends into the second octave and he demonstrates surprising comfort while navigating it. Here the notes are of medium weight, but can be hit with a smooth, soft texture [Harmonies: LoveStoned], or with an almost vocal fry, guttural like ring to them [Harmonies:If I] .

In the third octave the voice begins to lose weight rapidly, and brighten significantly. Its lower half is smoky and rounded, but as it rises it takes on the thin, nasal, almost metallic sound that is characteristic of the voice as a whole.[Hear: (Another Song) All Over Again]

In the belting range the voice becomes stringy, lighter and even thinner. Though not particularly powerful, the voice has a piercing quality that allows for it to remain at the forefront of the track, stopping it from becoming lost or overpowered. In live settings, Timberlake's belting voice can gain a raspy edge, but whether this is due to the voice not being in peak condition at the time or it simply being an artistic choice, is unknown.

Timberlake is perhaps best known for his abilities to sing in falsetto; which starts at the beginning of the fifth octave [C5]. His comfort in this part of the range means he can sing for long periods within it without fatigue, execute melisma here and hold notes without issue. Unlike other male falsettos, which are often airy and light, Timberlake’s has a solid form that shares many characteristics- such as the brassy tone- with the belting range. He is also able to play with the dynamics of falsetto, which adds to the versatility of how he can apply it. [Cry Me A River]

Vocal Negatives: Nasal tone and falsetto heavy singing isn't to everyone's liking. Also there is a disconnect between his modal voice and falsetto which limits how he can navigate these two parts of his voice.

[Vocal Profile/ Range] Jazmine Sullivan

Jazmine Sullivan

Vocal Type: Lyric-Mezzo Soprano
Vocal Range: 3 Octaves 2 notes and a semitone (A2-C#6)
Whistle Register: No
Vocal Pluses: A dark warm, rich, delicate and characterful voice that is best used at small to medium volumes. The voice has solid agility in all registers and is well connected between A2-G#5.
Tessitura: Eb4-Eb5

The lower register is where the voice shines most, being able to project below C3. The lower register is dark and dense -some may call it androgynous- and can carry rich support down to Bb2, live and A2 in the studio.

The lower middle register carries the same darkness, density and richness of the lower register, as can be heard on song such as If you Dare, Veins and Fear. It can be lightened significantly, hear Brand New. As we near the first passagio (Above E4), the voice brightens significantly, losing much of its density but maintaining its richness and, to an extent, some of the darkness. The lower middle also can be projected into a solid mid-belt that begins to bloom in size at E4/F4. It is evident in Stupid Girls during the second verse. The lower middle begins to pick up volume around G4 as demoed in the belts of #Hoodlove, the sustained A#4 belts in Stupid Girls, and the B4s in If You Dare. The lower middle also can be wielded at smaller volumes, in a "half-voice" as heard in Masterpiece, and Brand New.

The upper middle is bright, rich in color but fragile. The voice can carry a medium volume with effort but access the upper middle via the mask. Lately, her belts have been placed slightly higher and accessed by a more relaxed form of mixing to achieve more resonance. The sound is solid up to D5 before the voice becomes stringy around the middle passagio. The voice loses size above E5 and the belts from D#5 and above become slightly coarse. As in her lower middle, she has shown great ease singing in "Half Voice" in the upper middle as can be heard in the E5s in Brand New, the D#5s and E5 in Let It Burn.

The upper register is seldom accessed but Jazmine has reached C#6 in the studio, sustained a A#5 in the studio and sung up to G#5 live. The highest belted note was a G#5 in the song Masterpiece was was accessed by a head dominated mix. The upper register is coordinated well but does not retain the quality of the lower middle or upper middle. The true head voice of Jazmine is warm, thick and retains the delicate nature of the voice as a whole.

Vocal Negatives:At times the phrasing in the upper middle can be muddy [#Hoodlove]. The voice can sound fragile when pushed around the middle passagio (E5s, F#5s and G#5 in Masterpiece, The F5 in #Hoodlove.)

[Vocal Profile] Delta Goodrem

Delta Goodrem

Vocal Type: Lyric Soprano
Vocal Range: 3 Octaves notes (D3-D6)
Whistle Register: No
Vocal Pluses: Delta Goodrem possesses a naturally agile and fulsome soprano voice. Marked by a direct yet rounded and clean tone, the entirety of the range is known to be void of any harshness or crackling in its tone.

The lower end of the range is husky and velvety, whilst still being reasonably audible- a rare feat for most sopranos. This part of the voice is also marked by a darkness in timbre not evident in any other part of the range

The middle section is surprisingly confident and rich, which adds a warmth to the tone, while her distinct intonation marks it as instantly identifiable. Her fourth octave register retains a velvety texture and is well connected to her lower range, ensuring a fluidity right from the bottom to the top.

Goodrem, however, comes into her own with her upper belts and head-voice. This part of the range adds a soft and full penetrating timbre, that is of a healthier quality than that produced in the lower extremes of the voice. Her belts, taken from C5 right up to G5, are robust, clean and delivered by an even and striking vibrato. Of her head-voice, accessed from approx A 5/ B5, it would be classified as warm, illuminating and potent in quality.

Overall, Delta has a strong and characterful voice which traverses its higher regions with what appears to be great ease, all whilst producing a pleasurable and healthy sound throughout the registers (bar the extreme lows). The result is a voice that has both a high standard of musicality and natural raw ability.

Vocal Negatives: Some have described the tone in Delta Goodrem's upper registers to be slightly whiny and immature at times, often as if she is crying in a high tone. Also as the voice is clean of grit and lacking in overt power it has been claimed she is somewhat “boring” to listen to vocally.

[Vocal profile] Chris Colfer AKA Kurt From Glee

Chris Colfer

Vocal Type: Lyric Countertenor
Vocal Range:3.1 octaves A2-Bb5
Whistle Register: No
Vocal Pluses: An unusually high voice for a man, Colfer has an outstanding capability for production of notes in a way that is both light and powerful, giving him a very identifiable voice that can be sweet and lyric, as well as powerful and piercing.

The lower register (below D3) is hardly ever used, but is actually quite powerful for his voice type [Give Up the Funk]. Though it sounds as though the larynx may have been lowered slightly to enhance the sound, the technique used to reach his absolute lows is otherwise perfect.

The chest register, when unconnected to the head voice, can be powerful and capable, having an extremely punchy, belty sound [Rose's Turn]. Otherwise, when the sound is more often than not mixed with the head voice, the sound can either be light and sweet [Defying Gravity], or can have an extremely focused, edgy sound [Le Jazz Hot].

The head voice is the defining feature of Colfer's voice, and the clearest aspect of the individual sound he has. The lower head voice has a covered and cloudy sound that eventually gives way at around D5 to an immensely clear and piercing high head voice, up to Bb5.

Overall, all of the registers of his voice overlap consistently, so while the tone may not be identical from bottom to top, it is all produced in a healthy manner, and is extremely well-mixed with a head-dominant sound. The registers are easily connected, and can be demonstrated best in the final vocal slide from F#3 to F#5 in [Le Jazz Hot].

Vocal Negatives:The voice's sound can get a little too piercing at times. Also, sometimes, the mixing is done unevenly, with a head voice that is almost too flute-like to be used viably, belying problems with using a fuller, rounder support. This was more so a problem in earlier seasons of 'Glee', and has all but vanished starting mid-season 2.

[Vocal Profile] Anita Baker

Anita Baker

Vocal Type:Contralto
Vocal Range:3 Octaves C#3-C#6
Whistle Register:No
Vocal Pluses:  A unique voice that has an identifiable character that runs through the range and the registers. The voice, as a whole, is smooth, warm, and mature and Anita Baker wields it with exceptional skill: being incredibly natural with her delivery, while also effortlessly technical. Though capable of great vocal dexterity  [ Hear the ending of Body And Soul ], it's not something that she is prone to showing off, instead relying on her emotive voice, her mastery over dynamics, and the melody of her material to impress.

Despite hitting, on record, a low that isn't exceptionally so- when compared to other Divas- Anita Baker's voice has all the qualities of a contralto. The voice is weighty, dark, and at ease in the lower extremes- something others who can hit lower can't always claim. It also has a slight rasp to it that rounds out the tone, creating it's trademark smoothness.

As well as it being easy for Anita Baker to pitch low notes, she is also just as capable in the top of her range: being able to belt an incredible fifth octave Bb[Hear:No More Tears]. Of course, within the fifth octave the voice begins to lose some of its weight- increasingly so from about an E5- but even then, though the tone becomes thinner, as it is mixed, it retains many of its identifiable qualities.

As mentioned, Anita Baker's voice has a consistent sound throughout, but what is most surprising about this, is that it extends right up into the head voice. So whereas many Divas produce a head voice tone that sounds uncharacteristic of their lower range, Anita Baker produces rich, buttery notes that are just as identifiable, and relatable to her modal range. Effectively, this gives the illusion of no break or disconnect in the voice, adding to the overall effortless quality of it [Hear: Sweet Love 3.18 onwards].

Vocal Negatives: The voice does have a flattened, nasal quality about it that some may find not to their taste.

[Vocal Profile] Marina Diamandis (AKA Marina and the Diamonds )

Marina  Diamandis

Vocal Type: Mezzo Soprano
Vocal Range: 3 Octaves 3 Notes (A2-D6)
Whistle Register: No
Vocal Pluses: The voice is brilliantly connected, meaning it's possible for Marina  Diamandis to switch effortlessly, and quickly, between parts of the voice. She also has excellent control so she is a singer that can recreate her studio renditions perfectly in a live setting.

Heavy, weighty, dark midrange that has an almost androgynous quality to it [Are You Satisfied]. It's a styling that the voice isn't limited to, meaning it is possible for Marina to lighten the sound considerably; lending to exceptionally unique harmonies being created by layering the two timbres [intro of Hermit The Frog].

The belting voice, much like the midrange, is full of attitude and individuality. It's more than often used in the lower extremes (the fourth octave) and carries through the weight and rounded quality of the bottom half of the range. As the voice hits the fifth octave Marina creates a tone that is very much head-voice dominant. This creates a sweeter, warmer sound, and one which is lighter by comparison. It's also possible for her to pull these characteristics down into the top half of the fourth octave. [Intro, Primadonna]. 

The head voice possesses the duality of the midrange so Marina can either produce a tone and timbre that is thick and controlled, or one that is akin to a falsetto, being breathy warm and light.

Vocal Negatives:Though her individual style is a plus in this world of copycat singers, it would be nice to hear Marina embellish that style occasionally with some more "Diva-ish" vocal skills- such as melisma, belted and sustained notes. We like our Divas to show off once in a while.

Vocal Profile: Kristin Chenoweth

 Kristin Chenoweth

Vocal Type: Lyric Coloratura Soprano
Vocal Range: E3-F6 3 octaves and a semi-tone
Whistle Register: No
Vocal Pluses: Extremely individual tone that makes it impossible to mix her voice with others’. A simply stunning technical singer with perfect breath and pitch control, with the voice never sounding pinched or forced because of it. Classically trained as a coloratura soprano.

Her lower register is considerably weaker than the rest of the range, but still maintains a full sound (Over the Rainbow, I’m Not That Girl), reaching a good bit lower than most soprano ranges are able to go (down to E3).

The middle range from around A3-A4 is round, warm, and bright, having a beautiful supported tone that is where the voice finds its most versatile colouring.

The belting range, when used, is well-produced as Chenoweth progressively mixes her belt to produce notes up to E5 [The Girl in 14 G, Thank Goodness, Popular, My New Philosophy]. The tone never loses its warmth, however it does lose most all of the delicacy found in the lower range.


The head voice, spanning all the way to an impressive F6, is perhaps the most defining feature of the voice. It has brightness, clarity, warmth, and an unmistakable tone and easy vibrato that can be removed [Home], but is mostly employed. The upper part of the head voice loses the warmth of the lower range, but still maintains an impressive amount of power and clarity in the uppermost reaches of the voice [Glitter and be Gay , Der Holle Rache]. Impeccable breath control in this top range also makes it possible for her to sustain high head notes without diminishing their quality, displaying the ease that this range presents for her, most noticeably in Glitter and be Gay with several sustained Eb6s.

Vocal Negatives: The voice can sound nasal and unpleasant to some people’s ears. Also, while brilliant for Broadway, light opera, and jazz singing, the voice seems uncomfortable singing pop music, losing some of the ease and warmth found otherwise. The very uppermost reaches of the head voice can sound shrill even with the use of vibrato (starting at D6), though this may change with time.

Big thanks to Marty M for composing this Profile!

Vocal Profile: Alison Goldfrapp

Alison Goldfrapp

Vocal Type: Lyric Soprano
Vocal Range:3 Octaves 5 Notes F2-E6
Whistle Register:No- high notes sound like head voice.
Vocal Pluses: Vast expansive connected range that is able to go from low to high easily; expanding into the baritone ranges and well beyond the typical soprano ranges.

Lower register is characterized with a light and husky character to it, that though despite her higher vocal type she is able to sing within this area with relative ease due to a healthy and established technique.

Brilliant mixing technique allows the voice to access any note within the belting range with frightening ease, showing no signs of approaching its limit even up to Soprano Eb (Eb6).

However, the voice seems to find its home within the head voice. In which it is able to sustain notes for long periods of time, perform a series of vocal acrobatics, (see Happiness, Voicething, Pilots, Horse Tears, Utopia). The head voice also posses a duality to it, being able to take on an operatic tone (See the intro of Utopia) or a more contemporary likening (see Happiness).

 The voice as a whole posses an instrumental quality to it, and is often utalized in this way to paint the sonic landscape of the songs.

Vocal Negatives: The middle register of the voice lacks character, and most belts (from G4-E5) don't contain the characteristics usually associated with "belting"- for example power and projection. Though this is more of personal preference than actual fault in technique.

[Vocal Profile] Donna Summer

Donna Summer

Vocal Type:Mezzo-Soprano
Vocal Range: 3 octaves 3 notes. C3- F6
Vocal Pluses:Donna summer was a rear creature, in that though a technical singer with expert control over her instrument, she was also one capable of delivering emotion too. Whether oozing seduction- Love To Love You Baby- lamenting the loss of love-MacArthur Park- or giving attitude- Bad Girl- Donna Summer knew how to manipulate her voice to bring the meaning of her lyrics to life.

Her skill as vocalist meant that she was able to hold a note effortlessly- No More Tears (Enough is Enough)- and able to sing complex melisma throughout the range without issue. She also had a vibrato that could be manipulated in speed depending on the effect required.

[Vocal Profile] Brandy Norwood

Brandy

Vocal Type: Lyric-Mezzo Soprano
Vocal Range: 3 octaves and 5 semitone. G2- E6
Vocal Pluses: Brandy possesses an extremely dexterous voice that allows her to sing complex vocal runs effortlessly and subtly [Warm It Up (With Love)]. This skill can be used through the registers, meaning she can begin a vocal run at the top of her range and end up at the bottom with a speed and delicacy that belies its true skill [Over the Rainbow].

Annie Lennox: vocal Range/Profile [contralto/3 octaves]

Annie Lennox

Vocal Type: Contralto
Vocal Range:3 Octaves  3 Notes G2-C6
Whistle Register: No
Vocal Pluses: Powerful voice, that has a rich, weighty quality throughout its entirety.  Technically brilliant singer: able to switch between the different parts of her range with relative ease, and skill; able to sing melisma; and demonstrates excellent breath control that allows for well supported held notes, and long, uninterrupted ornamentation.

[Vocal Profile] Alicia Keys

Alicia Keys

Vocal Type: Mezzo
Vocal Range: 3 Octaves and a semitone Bb2-B5
Whistle Register: No
Vocal Strengths: Alicia Keys is capable of singing complex vocal runs, through the registers, and is able to hold notes for periods of time without wavering in pitch or tone [Fallin'].

The lower range is easily accessed and is supported, dark and of some weight [How To Save A Life]. Unlike other singers, who become foggy, the voice remains attributable at the lower extremes with a clear ring. At the bottom there is a slight breathy quality, but the voice is comfortable and clear despite the lowered larynx.

Alicia Keys' midrange is sweet and warm, with a smokiness and slight rasp to it. There is a dual aspect to this part of the range. She can sing in a hot, breathy style that is soft and wistful [In Common]. Or, though still warm in colour, she can make the timbre rounder and more in keeping with the fuller sound of the whole range [Karma]. Her voice sounds at its most easiest here.

The belting range is weighty and thick and often shares the smoky quality of the lower range. The notes above the fifth octave are most often reached with a chest-dominate mix, and the resulting tone has a good dynamic, fuller sound and a raw edge [Girl On Fire]. Alicia Keys does have versatility here and can alter her belt, shifting it to a head-dominate position [ How Come You Don't Call Me]. The result is a sound that is purer in tone and smoother in timbre, but this comes at the expense of power and fullness.

The head voice is pure and bright with a weight and warmth [Adore]. She is also able to sing in a falsetto-like tone that is light, airy, soft and lends itself well to harmonies [Empire State Of Mind].  

Vocal Weaknesses: The way Alicia Keys maintains her thicker belting tone, without mixing, could have a negative effect on the voice, ultimately inflaming it and producing a harsher sound.

Mýa Harrison Vocal Range/ Profile

Mýa Harrison

Vocal Type: Mezzo-Soprano
Vocal Range: 3 Octaves 4 notes B2-F6
Whistle Register: Yes
Vocal Pluses:Light voice, with a pervading sweetness throughout. Mýa is capable of complex melisma (vocal runs) that can traverse through her registers with ease and speed.

[Vocal Profile] Tina Turner

Tina Turner

Vocal Type: Mezzo Soprano
Vocal Range: 3 Octaves 4 notes and a semitone F2-C#6
Whistle Register: No
Vocal Pluses:Energetic and natural voice that has a character that is readily identifiable. Tina Turner's exceptional control means she is capable of varied timbres and tones that give her a great versatility that allows her adapt to many different genres of music [Rock/Pop/Adult Contemporary/Blues]. Her great technique has ultimately resulted in her still singing well, into her seventies.

Tina Turner sounds comfortable and at ease with second octave notes, which are reached seemingly effortlessly. The notes themselves are thick and full, with a husky, androgynous quality to them [In Your Wildest Dreams ]. Her midrange is also thick and rounded with a warm and full timbre that is connected seamlessly to both the lower range and the belting range.

The mastery of her lower range is mirrored in the belting range of the voice. She has the ability to sing high up into the fifth octave, but the voice finds the most resonance at around a C5. Whereas previously it had a rasp and an edge to it- Respect- it has since mellowed and smoothed as she has aged- Golden Eye. This change could also be due to the Diva adapting her technique and mixing more to reach the higher notes. If this is the case, then artistic choice is dictating the coarseness of the timbre more so than anything else.

Surprisingly for someone with such a strong lower range, Tina Turner also has access to a mid-weight, but bright and piercing head voice [Two People].

Vocal Negatives:Some of Tina Turner's earlier trademark growls, grunts and raspy vocals were achieved via questionable technique.

Jessica Jung [SNSD] Vocal Profile/ Range

Jessica Jung

Vocal Type: Light lyric soprano
Vocal Range: 3 Octaves D3-D6
Whistle Register: No
Vocal Pluses: Soft,delicate and innocent colouring to the whole of Jessica Jung's range. Her technique is such that she can hold notes for lengths of time with no deviation in pitch, but can also add a pleasing vibtrato if needed.

The lower notes are dark and heavy, with a smoky timbre to them, noticeably so when compared to the rest of the range. But that weight is quickly lost, though not the rounded quality of the notes, as it climbs into the midrange. This part of the range is perhaps the sweetest and warmest part of the voice.

Tarja Turunen- Vocal Range/ Profile [Lyric-Soprano: 3 Octaves]

Tarja Turunen

Vocal Type: Lyric Soprano
Vocal Range: 3 Octaves 1 note and a semitone (F3-Ab6)
Whistle Register: No
Vocal Pluses: Tarja Turnunen's voice has a duality to it that has been created by her classical training and her time in a rock band. Thus,she can create a sound that is operatic, but equally adapt to sing in a more contemporary tone.

The low note are achieved comfortably with great support, creating a controlled and measured tone that moves into its midrange with brilliant mirroring of timbre and tone. The head voice is the strongest part of Tarja Thunrunen's voice, thanks to its classical training. It's full, rounded and with a sweet timbre. It can create a resonant operatic tone, creating stunning crescendos, or utilise a softer timbre that contrasts texturally, but that's not so resonant. As the head voice climbs higher, towards the sixth octave, its colouring remains bright, polished and its tone stays clear and resonant, though less powerful than the lower half of the head voice- hear the introduction to Damned and Divine.

Tarja Turunen's brilliant technique allows for sweeping trills, resonant held notes and the implementation of a classical vibrato that is beautifully executed with even spacing.

Vocal Negatives:Over reliance on head notes, but that may be solely due to the type of music she sings. Still, it would be nice to hear how her belting range sounds in the fifth octave.

[Vocal Profile] Lana Del Rey

Lana Del Rey

Vocal Type:Dugazon
Vocal Range: 3 Octaves and one note (B2-C6)
Whistle Register: No
Vocal Pluses: An expressive voice that carries the emotional narrative of the lyric through Lana Del Rey's uncanny ability to channel whatever character is contained within them. This is accentuated by her brilliant intonation and phrasing which maintain that the song words are always clear, audible and understandable to a listener. Very much influenced by Nancy Sinatara, Lana has adapted and modernised her sound for a new generation.

Natasha Bedingfield: Vocal Range/ Profile

Natasha Bedingfield

Vocal Type: Mezzo Soprano
Vocal Range: 3 Octaves   (E3-E6)
Whistle Register: No
Vocal Pluses: Natasha Bedingfieid's voice is bright and clear with a consistent quality to the sound and timbre through the modal range. Agile, dexterous and athletic, the voice is able to sing complex melisma as well as hold notes effortlessly. The lower range is well placed, with a moderate weight and is easily accessed. The belting range is resonate and well placed with an edgy rasp, extending up to an impressive A5, while maintaining a strong dynamic and individual tone. Though the voice can be punchy and powerful, Natash Bedingfield is also capable of switching up the dynamics to a softer, breathier timbre- see I Bruise Easily- which gives the voice greater flexibility.
Vocal Negatives: Natasha Bedingfield's  head voice sounds disconnected and slightly laboured.

Jessica Simpson Vocal Range / Profile

Jessica Simpson

Vocal Type: Lyric Soprano
Vocal Range: 3 Octaves 2 notes and a semitone (E3-G#6)
Whistle Register: Yes
Vocal Pluses: The midrange is smooth and slightly smoky. Depending on the placement of the voice, the chest voice can be bright and smooth- when mixed- or edgy and coarse-when it's pulled up into the throat. The lower half of the belting range- up to a C5- is where the voice finds its strongest sound; being resonate and controlled. The vibrato is stable and pleasant and smooths out any harshness in tone that poor technique may induce. Has the strength and stamina to hold notes for impressive lengths of time throughout the belting range without wavering in pitch.  The head voice is heavy with a piercing quality and fullness to it.
Vocal Negatives: Poor technique; the belting voice is often placed in the throat, making the sound produced sound like shouting in the higher extremes, and the control over the voice can be inconsistent.