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: Gwen Stefani

Gwen Stefani

Vocal Type: Mezzo-Soprano
Vocal Range:3 Octaves D3-D6
Whistle Register:No
Vocal Pluses: Instantly recognizable voice with a poppy and colourful tone that is well supported from the bottom to Middle of the voice and this is where it finds its most comfort. Gwen’s voice has managed to stay , relatively, in the same condition throughout her career (an aspect which is rare among most of todays singers).

The lower register, albeit lacking resonance, is very rounded, showing much control. The voice can easily mix into the upper belting register but Gwen stylistically often sings with a punky- throatier edge. The voice finds its ring within the middle of the belting register. The head register is light and agile, being able to instantly and seamlessly transition into it after a belted note.

Known for her unique trademark vibrato, Gwen’s voice is easily capable of transitioning from a solid belt to a Yodeling vocal wobble.

Vocal Negatives:Technique can be questionable at times. Her chest dominant belts can often sound heavy and strained due to the edgier sound she chooses. When performing live the key of her songs are often lowered so she can keep up with the band. Also, her head register is weak as it is often used merely for expression or exclamations; yet, can become much more resonant if properly executed. Also her Vibrato may not be to everyone's taste.

Thanks to Brian for creating the profile, and Serendipity for directing me to the video!

[Review] Dawn Richard: "Wild n Faith"

Former Danity Kane member Dawn Richard keeps delivering during her stint as an independent artist, and  new song Wild N Faith- which is actually a combination of tracks Faith and Wild N' Young- is no exception.

[Unreleased Music] Mariah Carey "I Feel It"

Having been left decidedly unimpressed by Mariah Carey's latest single, Triumphant (Get 'Em), I've taken to delving into the Diva's back catalogue to get my Carey fix- well, at least until the next song drops. It was during this musical excursion that I happened to rediscover I Feel It, and thought I'd share it.

[Listen] Calvin Harris And Florence Welch: "Sweet Nothing"

Having already teamed up on the remix of Florence + The Machines' number one hit Spectrum, Florence (minus the Machine) and Calvin Harris have once again joined forces to create the dance track, Sweet Nothing. Though produced exclusively by Calvin Harris, the song shares its writing credits between himself and the flame haired Diva.

[Review] Charlotte Church: "How Not To Be Surprised When You're a Ghost"

Former childhood classical star Charlotte Church is back on the musical scene and seems to have gone all Alternative/indie on us. Taken from her September due EP One, the song How Not To Be Surprised When You're a Ghost finds the Welsh singer taking a confident stride in this new musical direction.

Admittedly, I wouldn't have recognised How Not To Be Surprised When You're a Ghost as Charlotte Church if I hadn't been watching the (slightly creepy) video while listening. It's just so different from anything I've ever heard from her. Luckily, it's "different" in a great way.

[New Video] Mariah Carey "Triumphant (Get 'Em)"

How does Mariah Carey do "Triumphant" in the new video for the soon to be labelled "buzz-track" of the same name? Well, the same way she does everything else: posing, pouting and trying as hard as she can to be sexy.

Just like the song itself [review here], Mariah Carey isn't even the main attraction of the video- that privilege goes to the boxers and the boxing match itself. Instead, she's relegated to the babe holding the numbered cards between bouts. Not that she seems to have a problem with it; clearly enjoying parading herself and her new slimline figure for the crowd. Or maybe I've interpreted it all wrong and this is really a visual representation of Mariah Carey's own triumph with her weight? (Why does that sound so bitchy when I read it back?)