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.

Vocal Profile: Melody Thornton

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! 

[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.

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.

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.

Michael Jackson: Vocal Profile/ Range [High Tenor/ 4 Octaves]

DivaDevotee's first Male profile; what a joyous and momentous day! I'm not sure how frequent these "male profiles" will be, especially considering the list of female pending profiles, but I'll try to get one out at least once a month. So, who better to start with than the legend that is Michael Jackson.

Michael Jackson

Vocal Type: High Tenor
Vocal Range: 4 Octaves (F2-F6)
Whistle Register: No
Vocal Pluses: Michael Jackson's voice was predominately light and agile with a nimble, rhythmic dexterity that allowed for complex vocal runs, as well as allowing it to mimic instruments- such as drums- or employ trademark grunts and exclamations that were controlled and achieved via proper technique. The voice also had the strength and stamina to hold notes for lengths of time, without wavering in pitch, and the ability to emote the meaning of the lyrics exceptionally.

The low range was the heaviest part of the voice, and was surprisingly dark when compared to the higher parts of the modal range, in which he usually sang. As the voice passed into the midrange it began to lighten and brighten significantly. The chest voice had an elasticity and flexibility that allowed for it to stretch, without much impact on the tone, up to the fifth octave. The belting range had a number of timbres, being either bright, light and smooth, or coarser, slightly heavier and with an edge-see They don't care about us . The falsetto was solid, warm and more resonate than many other male singers, though it was also capable of a softer timbre if so required. Comfortable in this part of the range, Michael Jackson could sing effortlessly here holding notes, or hitting complex staccato notes- see Butterfies.

Unique and immediately recognisable voice that harmonised with itself brilliantly to create luscious and iconic layered vocals.

Vocal Negatives: Michael Jackson's tone could be considered thin and lacking in resonance, particularly in the mid-to high part of the modal register, when compared to other male singers. It should be noted that many fans consider this to be a unique, and positive, feature of the voice.

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.

JoJo Vocal Profile /Range

JoJo

Vocal Type: Mezzo Soprano
Vocal Range: 4 Octaves 1 Note and a semitone (B2-C#7)
Whistle Register: Yes
Vocal Pluses: Light and agile voice that has a nimble dexterity that allows it to accomplish complex vocal runs effortlessly. The voice also has the strength and stamina to hold notes for lengths of time without wavering in pitch.

The low range is the heaviest part of the voice, and is of medium weight. As the voice passes into the midrange the voice begins to lighten and brighten significantly. The chest voice has an elasticity and flexibility that allows it to stretch, without much impact on the tone, up into the fifth octave. The head voice is soft and light, with a warm and breathy timbre, whereas her whistle register is piercing and solid.

Vocal Negatives: The tone, particularly in belting range, is weak and lacking character. The head voice also needs to be improved on to strengthen its tone and connection to the lower range.

Anastacia Vocal Range /Profile

Anastacia

Vocal Type: Contralto
Vocal Range: 2 Octaves 7 notes and a semitone (Bb2-A5)
Whistle Register: No
Vocal Pluses: Heavy, dark and well connected range. Comfortable in both the bottom and top of her range. Can utilise a contemporary pop vibrato but is also able to adapt it to a jazzier styling . The chest voice is resonate and punchy with a rasp to it and can extend high up into the fifth octave with apparent ease, while retaining its edgy character. The head voice can be soft and have a controlled and operatic tone-see the intro for Left Outside Alone- or can be, like the chest voice, more direct, sharp and solid.
Vocal Negatives: The sharpness of the chest voice can sometimes be overbearing.

Shakira Vocal Range /Profile

Shakira

Vocal Type: Coloratura contralto
Vocal Range: 3 Octaves 1 note E3-D6
Whistle Register:No
Vocal Pluses: Unique and versatile vocal styling that incorporates a yodelling like technique as well Arabic influences. The voice has a heaviness pervading throughout, though surprisingly it seems to be most prevalent in the midrange and low belting range.  This weight can be removed, revealing a contrasting crisper, lighter and more youthful sounding timbre. Her head voice is strong and bright, becoming more piercing the higher it becomes, but isn't often used. She is capable of complex meslisma, usually built on a middle eastern musical scale, as well as able to hold sustained notes with or without vibrato. The vibrato itself, is quick but controlled.
Vocal Negatives: Her voice sounds as if it's artificially gaining its weight via her larynx being forced down, as her talking voice is light. Her vocal styling and intonation can also make comprehending her lyrics hard to do.

Diana Ross Vocal Range /Profile:

Diana Ross

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.

Janis Joplin Vocal Range/Profile

Janis Joplin

Vocal Type: Mezzo-soprano
Vocal Range: 3 Octaves 2 note E3-G6
Whistle Register: No
Vocal Strengths: Unique and prominent coarseness to the voice, with a throaty and guttural chest voice. Despite the heavier weight of the voice the belting range could extend high up into the fifth octave by mixing while retained this characterful rasp. The head voice was bright and full, with a smoother, delicate contrasting texture to the lower half of the voice. Her control in this part of the register was surprisingly strong and deft. Though her voice is remembered for its passionate rasp, it was also capable of a softer and smoother timbre, demonstrating the skill and ability she had as a vocalist. Interestingly, the frayed edges of the notes sang with this textured timbre sometimes allowed for harmonic chords to be created as two or more tones were produced by the voice at the same time.
Vocal Weaknesses: The coarsness of the voice could be found abrasive by some.
Recommended Listening: Maybe [demonstrates the softer texture of Joplin's voice, as well as her head voice ], Piece of my heart  [Shows the coarser side of the voice, as well as its passion]

Minnie Riperton- Vocal Range/ Profile

Minnie Riperton

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.

Enya Vocal Profile/ Range:

Enya

Vocal Type: Mezzo-Soprano
Vocal Range: 1 Octaves 5 notes (G3-E5)
Whistle Register: No
Vocal Strengths: Predominately breathy, warm and light voice with a soft and airy quality to it that extends throughout. The voice can also be more solid, and rounded in tone- though could never be described as weighty. When this fuller tone is used in the fifth octave it can produce a light, operatic like colour to it. As stated the voice harmonizes brilliantly and layers well to produce unisons that retain lightness, warmth and the voice's intrinsic ethereal character.
Vocal Weaknesses: Her voice, due to its airy quality, can be seen as as having a weak tone.
Must Hear: Orinoco Flow, Far and Away, The First of Autumn, May It Be, Only If, Only Time and Long Long Journey

Jewel- Vocal range/ Profile

 Jewel

Vocal Type: Lyric-Soprano
Vocal Range: 3 Octaves   (E3-E6)
Whistle Register: No
Vocal Strengths: A versatile instrument that be smoky and light or sold and clear depending on what the song calls for. The voice is strongest and healthiest in it's midrange and it includes where she belts best. This is the characterful part of the voice where it finds its consistency, weight and power. Her fifth octave chest register isn't as strong as the midrange but its still capable of producing bright, clear notes with deft mixing of registers. Her head voice is a beautiful addition and harmonises brilliantly, providing textural depth to the vocal depending on how she chooses to implement it: airy and light, or fuller and rounder with an operatic-like tone to it.Though not keen to show it off, Jewel is capable of complex melisma and her excellent breath control means she is capable of holding long sustained notes.
Vocal Weaknesses: Her lower range can sound unhealthy, and pushed.
Must Hear: Amen

Karen Clark-Sheard- Vocal Range/ Profile

Karen Clark Sheard

Vocal Type: Soprano
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.