Showing posts with label soprano. Show all posts
Showing posts with label soprano. Show all posts

Saturday 8 June 2024

[Vocal Profile] Billie Eilish

Vocal Type:  Soprano
Vocal Range: D3 - A5 (2 octaves, 4 notes)
Whistle Register: Unknown
Vocal Pluses: Billie Eilish is known for her ethereal, intimate vocal style. She has the ability to create unique and captivating atmospherics with her voice, which has lead to a distinct and recognisable styling. 

Wednesday 15 January 2020

[Vocal Profile] Keke Wyatt Vocal Range

Post by: Montrez Rambo

Voice Type: Spinto Soprano
Vocal Range: 3 octaves, six notes, 1 semitone F#2-F6
Whistle Register: Unknown
Tessitura: G#4-G#5
Vocal Pluses: A dark, medium weight soprano voice, capable of producing large columns of sound in the middle and upper reaches with great ease throughout the entirety of the range.

The lower register is dark in color and extensive, capable of extending down to F#2 (6:50) live. However, the lower register is best in the third octave, able to begin supporting as early as D#3.

The middle register is warm with a relatively dark color. It is very agile and large belts can start as early as G#4. As the voice enters the fifth octave, it immediately begins  to bloom. The natural dark color shines through and the natural metal of the voice begins to show. The upper middle register continues to expand, having darkness, weight and power, taking a headier approach starting as soon as E5. She has incredible stamina able to hit E5s(1:42) back to back without fatigue. Despite the increase volume, the voice can exhibit heroic levels of agility (3:36).

The upper register continues to be expansive, the upper belts are supported with piercing characteristics to G#5 (4:20). She has extended her mix upwards to Bb5 with a more head dominated approach. The voice strongest area is it's head register, being full, warm and embodied up to an impressive and supported F6 (2:35).

Vocal Negatives: The low notes, though extensive are often achieved with an extremely depressed larynx. Her upper middle register can have passagio issues around E5-F5 (2:44). She can over-sing and become off-key at times, though rare.

Friday 10 November 2017

JOJO - Fuller Soprano or Higher Mezzo-Soprano?

Post by: Montrez Rambo

Jojo is one of those singers that comes along and makes people turn their heads, Not only are untrained ears piqued by her vocals, but those with a vocal background also fawn over her abilities. She has a bright and coppery timbre, robust lower register, sizeable lower middle, bright and sheer upper middle and a rich upper register.

But what is her voice class though? Soprano has been tossed around as many a time as mezzo-soprano has. There's one performance that is tell-tale... Who's Loving you, Smokie Robinson tribute.

Monday 1 May 2017

DUA LIPA, Underdeveloped Soprano or Mezzo in need of nuturing?

Post by: Montrez Rambo

Dua Lipa! She's so gorgeous. What's even more gorgeous than she is? Her voice. She has a steely, mesmerizing sound that is husky and deep. Is she a mezzo-soprano or a textbook underdeveloped soprano? Let's watch the above cover of The Hills, filmed for Radio 1's Live Lounge and see if we can get to the bottom of this vocal conundrum.

Right off the rip. The girl was giving us lower register; tight and congested, but low nonetheless. Hovering around G#3, dipping to a solid Eb3. It wasn't the most relaxed but her larynx wasn't being floored either.

Wednesday 29 July 2015

[Vocal Profile] Tori Kelly

Tori Kelly

Vocal Type: Lyric Coloratura Soprano
Vocal Range: C3 - Bb6 (3 octaves, 5 notes and 1 semitone)
Whistle Register: Yes
Vocal Strengths: A strong, bright voice characterized by its feminine, sophisticated nature. Tori Kelly possesses superb vocal dexterity that is shown by her elaborate, nimble and soul-influenced vocal runs and inflections, which can cover multiple notes effortlessly [P.Y.T.].

In addition, Tori has displayed exemplary versatility and musicality. This allows for her to take another's material and make it unique and personal[Thinkin' Bout You], and also canny enough to play with, and create interesting harmonies- such as the neo-soul and gospel-influenced ones found in Falling Slow.

Tori's lower range is dark, lush and well-supported, showcasing a full, controlled quality down to E3. It is easily accessed from the mid-range [Bottled Up]. Below that, are notes that despite their fogginess, sound audible and well-controlled [First Heartbreak]. In a live setting, she has no problem descending to the lower extremities of her voice, and although it lacks the audibility within a studio setting, she sounds controlled and measured when attempting them [Star-Spangled Banner].

Thursday 23 July 2015

[Vocal Profile] Liz Fraser

Liz Fraser

Vocal Type: Soprano
Voice range: C3-D6 (3 octaves 1 note)
Whistle Register: No
Vocal Pluses: The overall character of the Diva’s instrument is famed for its light, airy and ethereal nature, with a slight operatic touch. Despite the fact that her real artistic strength comes from her tone, timbre, phrasing and the unique style of lyricism, she has also shown some technical proficiency.

Although naturally foggy, Fraser’s lower register extends down to C3, and is characterized by a surprising audibility given her voice type. The voice is most comfortable around the upper half of the lower register, resulting in her being capable of hitting strong and substantial F#3’s. [Athol-Brose]. The tone and volume can aptly be manipulated into sounding either soft [Make Tomorrow], or louder and stronger [Bluebeard].

Tuesday 24 June 2014

[Vocal Profile] Jennifer Lopez

Jennifer Lopez

Vocal Type: Lyric Soprano
Vocal Range: C3-Bb5 (2 Octaves 5 notes and a semi tone)*
Whistle Register: No
Vocal Pluses: On the whole, Jennifer Lopez possesses a light voice that is well connected throughout the registers. For the most part the Diva prefers to stick to her middle range when singing, as it's where she finds the best tone and stability- with a smooth, easy sound [Hear: On The Floor].

Her lower range is where she loses vocal confidence, though surprisingly she is able to sing down to a G3 with some ease. Even at the lower end of the third octave, the Diva manages to maintain the character and tone of the voice [Hear: Jenny from the Block ], but this suffers the lower she goes.

Wednesday 30 January 2013

[Vocal Profile] Kimbra Johnson

Kimbra Johnson

Vocal Type: Lyric Soprano
Vocal Range: 4 Octaves 1 note and a semi-tone (C#3-D#7)
Whistle Register:Yes
Vocal Pluses: Kimbra's voice isn't like that of a powerhouse Diva, but instead its strength lies in its unique timbre and the the quirky jazz-inspired way she wields it.

Her low notes are not well supported (though an artistic decision) but are still characterful and identifiable [as demonstrated by the A#2 in Somebody Please]. She's at her most comfortable between the notes F3-C5; where the voice has a surprising warmth, tinges of smokiness, and a delicate quality [Hear: Limbo].

Overall her voice is head-dominate, which is perhaps why the weight of the voice is so light. In this upper-register, Kimbra exhibits much  freedom, being able to navigate it easily and effortlessly [Settle Down] and able to jump from a belt to a head-voice note with impressive dexterity.

Her belting range shares this dexterity-she can jump from a F3-F#5 in elastic and energetic bouts [Hear: Call Me]. However, as the voice climbs past A4 it drops weight quickly, becoming lighter but brighter and steelier in tone. To give the upper belts more substance Kimbra often layers and incorporates them within harmonies, or uses studio effects to give the sound an "artificially cavernous" one.

Vocal Negatives: Kimbra's voice doesn't carry much weight, which is surprisingly light considering how dark her tessitura is (F3-D5). Her chest voice also has a tendency to sound "throaty", which, in combination with her unusual vibrato and quirky styling, may not be to everyone's taste.

Thursday 4 October 2012

[Vocal Profile] Tamar Braxton

Vocal Type:Coloratura Soprano
Vocal Range:Four Octaves and One Note (C3-D7)
Whistle Register: Yes
Vocal Pluses: Tamar Braxton finds her strength in her head voice and higher chest register. Her lower range is not as strong but is still well supported. Due to Tamar's expert mixing of her head and chest voice, her belting range extends all the way to a Bb5; having a very bright, light quality to it.

Her head voice is smooth and airy, and is well connected to the rest of the voice.
She is also able of singing notes in the whistle register, producing a tone that is not piercing but instead very smooth.

Monday 17 September 2012

[Vocal Profile] Vanessa Amorosi

Vocal Type: Falcon Soprano
Whistle Register: Yes
Vocal Range: F2-F6 (4 Octaves)
Longest Note:20 seconds
Vocal Pluses:A well structured voice; strong from the lowest depths of the voice to the soprano heights. Demonstrates agility across all registers of the voice allowing for the production of complex melisma, and fast transitions throughout the voice. Often displaying this through the ability to replicate guitar solos (See " I Wanna Be Your Everything, Jumpin' Jack Flash, My Problem Is You"). Able to apply a raspy texture throughout the belting range with a neutral larynx and in a healthy manner. Incredible breath control allows for long phrases, sustained notes and periods of uninterrupted melisma. 

The lower register carries a full, dark and heavy sound and achieved with a large quantity of freedom and ease [see Off On My Kiss]. The mid-range is capable of producing a large column of sound and sustain notes for substantial amounts of time [see Heroes Live Forever, Suns Up].

Monday 3 September 2012

Vocal Profile: Ariana Grande

Ariana Grande

Vocal Type: Soprano
Vocal Range:4 Octaves and a semitone Eb3-E7
Whistle Register:Yes
Vocal Pluses: Agile voice that carries very little weight with it and is resonant and well supported all throughout the vocal registers. With great technique Ariana Grande is capable of singing all the way down to a Eb3 with ease, exhibiting a smoky vocal texture.

The voice begins to showcase more power and character however in the upper belting and head voice registers where it finds its "ring". Ariana Grande’s chest voice is elastic and mixes well almost never exhibiting strain or fatigue.

The head voice is connected, light, resonant, and easily accessed- being able to seamlessly blend into a head note from chest voice.

Vocal Negatives: Chest notes, although executed with great technique, lack the resonance that the rest of the voice shines with. The whistle register has not been used live- which may indicate a lack of control with the register.

Thursday 9 August 2012

Vocal Profile: Melody Thornton

Vocal Type:Soprano
Vocal Range:3 Octaves and a semitone D3-Eb6
Whistle Register:No
Vocal Pluses: The quality of Thornton's voice could easily be described as dynamic, robust and highly flexible. She has the ability to easily manipulate her instrument to fit the material in which she is singing, such as soft and gentle (most of PCD records, doing backing vocals) or more forceful and direct (Bulletproof, Hit the Ground Running and Sweet Vendetta to name but a few from P.O.Y.B.L)

Regarding the texture and quality of the voice one could say the lower extremities sound well supported but tired, slightly flat. The mid range and belting range, in particular, sound crystal clear, contain a incisive tone and feel more comfortable for Thornton to access than that of the lower. The voice from the bottom to the top sounds well connected, illustrated by Thornton's adept use of melisma throughout the entire range.

The head voice however is where she really shines. The tone is such to be powerful, expertly placed and far healthier sounding than the rest of the voice. She is able to access this part of the range from approx G5 right up to Eb6, retaining a full strong tone as well as a fantastic flexibility and fluidity that makes traversing this area easy and free.

Overall Melody is a technical singer who possesses a voice that is for the most part well placed, distinctive in its sound and very energetic.

Vocal Negatives:Criticisms have often been levelled at her for her over indulgence in melisma, which often detracts from the melody and nature of her material. This has caused some to accuse the singer of not always being in full control of her instrument. The tone of her voice can also be seen as overbearing, particularly in high belts where the voice takes on a stronger more slicing nature.

Thanks to Stuey for creating this profile! 

Thursday 2 August 2012

Vocal Profile: Debelah Morgan

Vocal Type:Coloratura Soprano
Vocal Range: 3 Octaves 5 notes and a semitone (C3-Bb6)
Whistle Register:Yes
Vocal Pluses: Brilliant technique that demonstrates complete vocal freedom, being able to execute various vocal acrobatics along the entire range. Her vocal dexterity and stamina means Debelah Morgan  is able to transition and jump throughout the range on a single breath and hold notes without any effort and with apparent ease.

The lower range is slightly smoky, dark, but breathy, and is connected well to the midrange. The midrange itself [top of third octave, start of fourth octave] is richer and well supported. It displays a maturer, fuller timbre than the upper part of the range, and is healthier and better controlled than the lower extremes of the voice. However, Debelah Morgan  does display versatility in the mid-range and is able to make it lighter and airer if she so chooses [Hear the thicker midrange on Yesterday and its airier counterpart on Its not over].

The belting range is contrasting depending on how it is accessed. When it is utilised without mixing it
is thicker, rounded and heavier, but when mixed it becomes lighter, thinner and noticeably sweeter. From here the voice passes effortlessly into the head voice, where she is able to carry it effortlessly throughout most of the 6th octave (up to Bb6)

Shows a nearly unrivalled skill within her bright and piercing whistle register. Debelah Morgan is able to articulate within this part of her range, as well as conducts trills, runs that traverse the range and hit staccato notes accurately [all can be heard done live in Dance With Me from 4.30].

Vocal Negatives: Sometimes child-like tone isn't to everyone's taste, along with the head-dominant singing throughout the voice. The voice overall lacks real weight.

Monday 19 December 2011

Diana Ross Vocal Range /Profile:

Vocal Type: Light lyric soprano
Vocal Range: 3 Octaves C3-C#6
Whistle Register:No
Vocal Pluses: Smoky lower range, which is dark and heavy. Her midrange is lighter, softer and has a warm timbre that carries through the to the top of the range. There is an intrinsic sweetness and youthfulness to the voice that is accentuated by her excellent phrasing. The chest voice is clear and light, effortlessly extending up to an A5 with the help of her excellent technique and clever mixing of the chest and head voice. The head voice is bright and robust, with great dynamics.
Vocal Negatives: The voice's lightness is often interpreted as it lacking power as whole, with the term "weak" sometimes being applied to the voice's tone.

Monday 21 November 2011

Minnie Riperton- Vocal Range/ Profile

Vocal Type:Soprano
Vocal Range: 4 Octaves 2 note and a semi-tone D3-F#7
Whistle Register: Yes
Vocal Strengths: A technical singer, who was operatically trained. Amazing control allowed for effortlessly sustained notes in all parts of the range and brilliant command of dynamics. In combination with this, Minnie possessed a fluidity and a dexterity that made it possible for melisma to be used throughout the registers.

The lowest notes were of medium weight, and of a darker colouring to the rest of the voice. But it was a few notes above this, in her mid-range, that the Diva began to exhibit the mastery that flows throughout the rest of range- being easy, carefree and full of character. Though not often as appreciated as her higher notes, this part was the most emotive and expressive. From sensual and alluring [Inside My Love] to being tinged with Indignance and annoyance [Take A Little Trip], it was here that Minnie sounded most human, unimpeded by the ethereal and unearthly quality her higher range would often impart to the lyric.

The overall lightness of the voice lent itself best to the upper register, with the chest voice being expertly mixed so that a high fifth octave belt displayed none of the usual signs of strain or pull [Reasons]. Notes sung here were elastic and controlled, with the timbre and colouring being changed depending on the ratio of head to chest voice used in the mix.

The head voice itself was bright and resilient and could switch between a lighter, softer pop styling [Young Willing And Able] or a fuller, grander operatic tone [Stay In Love ]. Minnie sounded to be extremely comfortable here, hitting and accessing notes without issue. Like between the chest and head voice, she ascended up into the next register, seemingly without break. This effectively gave the illusion of a seamlessly connected range. [Listen to her climb it in the climax of Can You Feel What I'm Saying]

Her whistle register, which is unfairly what she is most often remembered for, was bright and versatile; allowing for her to enunciate words within it [Back Down Memory Lane], mimic instruments and copy intricate birdsong [Loving You]. The timbre and tone could also be manipulated, being biting and direct in one song [Here We Go] and less obtrusive and soft in another[Inside My Love]. Minnie could access this part of the range swiftly, and repeated did so from different parts of the lower ranger.

Despite it's overarching delicate, feminine and sweet nature, the voice exhibited a power that wasn't attained from volume or brute vocal force, but clever use of skill, range and emotive ability.

Vocal Weaknesses: The bottom extreme of the range wasn't as strong, or versatile as the higher parts.

Thursday 27 October 2011

Karen Clark-Sheard- Vocal Range/ Profile

Vocal TypeSoprano
Vocal Range: 2 Octaves  5 Notes and a semitone F3-Eb6
Whistle Register: Yes
Vocal Pluses: Voice that is rooted in the emotive Gospel music. Incredibly agile voice that allows for complex melisma up and down the different parts of the range, as well as the ability to manipulate it into healthy sounding grunts and growls. Mixes her head and chest voice ably to create sustainable, and masterful upper fifth octave belting.
Vocal Negatives: Higher head notes sound shrill.

Wednesday 28 September 2011

Maria Callas- Vocal Range/Profile

Vocal TypeSoprano
Vocal Range: 3 Octaves  F3-E6 (though the E6's vibrato touches an F6, so will count as 3 octaves)
Whistle Register: No
Vocal Pluses:Callas's voice was noted for its three distinct registers: Her low or chest register was extremely dark and almost baritonal in power, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most sopranos. Her middle register had a peculiar and highly personal sound—"part oboe, part clarinet", as Claudia Cassidy described it—and was noted for its veiled or "bottled" sound, as if she were singing into a jug. Legge adds, "Even in the most difficult fioriture there were no musical or technical difficulties in this part of the voice which she could not execute with astonishing, unostentatious ease. Her chromatic runs, particularly downwards, were beautifully smooth and staccatos almost unfailingly accurate, even in the trickiest intervals. There is hardly a bar in the whole range of nineteenth century music for high soprano that seriously tested her powers."

Vocal Negatives: Rodolfo Celletti states, "In certain areas of her range her voice also possessed a guttural quality. This would occur in the most delicate and troublesome areas of a soprano's voice—for instance where the lower and middle registers merge, between G and A. I would go so far as to say that here her voice had such resonances as to make one think at times of a ventriloquist. . .or else the voice could sound as though it were resonating in a rubber tube. There was another troublesome spot. . . between the middle and upper registers. Here, too, around the treble F and G, there was often something in the sound itself which was not quite right, as though the voice were not functioning properly."

Note:I am in no position to be a judging a voice like this- you need college degrees and schooling to do that- so I pinched the positives and negatives from Wikipdiea. I am forever in your debt! Read the article here, its fascinating stuff.

Friday 23 September 2011

Julie Andrews Vocal Range/Profile (Vocal Prime)

Vocal Type: Soprano
Vocal Range: 2 Octaves 2 notes and a1 semitone F#3-Bb5 (Note: she has claimed to have had a 4 octave range. If anyone knows any lower, or higher notes she has sung, please get in contact or comment.)
Whistle Register: No
Vocal Pluses: Classically trained, powerful yet dexterous soprano, with a gorgeous clarity to her tone and a natural vibrato. Seamless transition between registers. Vocal stamina in her youth - she was on Broadway constantly from the age of 20 - 23. Wonderfully expressive phrasing and emotive interpretation of song. Also a superb actor (Oscar-winning) and dancer.
Vocal Negatives: Due to her reliance on classical technique, she struggles with certain styles (ie her 'Jazz Hot Baby' from 'Victor Victoria' isn't really that jazzy or bluesy!). However superb at musicals, operetta and light classical music.

Thanks To Karen V for directing me to the notes, and providing the positives and negatives.

Monday 19 September 2011

Solange- Vocal profile/range

Vocal TypeSoprano
Vocal Range: 3 Octaves 1 note D3-E6
Whistle Register: No
Vocal Pluses: Her lower range has a smoky timbre that is pleasant to the ear. Her chest voice is clear, bright and light. While her head voice is strong and wide, extending past the soprano high C.
Vocal Negatives: The chest voice lacks power, and the tone starts to sound constricted and pushed above a C5.

Wednesday 14 September 2011

Esmee Denters - Vocal Profile/ Range

Vocal TypeSoprano
Vocal Range: 2 Octaves 1 semitone Eb3-E5
Whistle Register: No
Vocal Pluses: Dexterous voice capable of quick vocal runs. The voice has a solid and stable tone to the low to midrange and has a lightness to the top of the range that allows it to hit notes in the chest register seemingly with little effort.
Vocal Negatives: Head voice sounds light, and weak and sometimes the higher chest notes sound nasal.